2016–17 GENERAL CATALOG GENERAL 2016–17 EDITION 16.1 CJC academic calendar California JazzConservatoryAcademicCalendar2016–2017 California Academic andAdministrativeHoliday Last DaytoAdd/Drop aClass First DayofSpringInstruction Academic andAdministrativeHoliday Auditions forSpring2016 Spring Semester2016 * Fall 2017Registration Fall 2017Enrollment DepositDue Commencement Final ExaminationsandJuries Last DayofInstruction Spring Recess Academic andAdministrativeHoliday Last DaytoAdd/Drop aClass First DayofSpringInstruction Academic andAdministrativeHoliday Auditions forSpring2017 Spring Semester2017 Spring 2017Registration Winter Recess Final ExaminationsandJuries Last DayofInstruction Spring 2017Enrollment Deposit Due Academic andAdministrativeHoliday Academic andAdministrativeHoliday Last DaytoAdd/Drop a Class First DayofFallInstruction New StudentOrientation Auditions forFall2016 Fall Semester2016 Fall 2016Registration Fall 2016Enrollment DepositDue Commencement Final ExaminationsandJuries Last DayofInstruction Spring Recess covers thetimeperiodofJuly1,2016 –June30,2017. Please note: Edition 16.1 of the CJC 2016 – 2017 General Catalog Pleasenote:Edition 16.1oftheCJC2016 – 2017GeneralCatalog

Dec 19–Jan16,2017 Mar Mar On orbefor On orbefor On orbefor July 31–August4 ch 20–March 26 ch 21–March 27 Nov 21–27 By Appointment By Appointment By Appointment Jan 2–6,2017 August 1–5 Dec 12–16 May 9–13 May 8–12 e June1 e June1

e Dec1 May 14 May 13 Aug 22 Aug 18 Dec 11 Feb 15 Feb 20 Jan 31 Jan 19 Jan 18 Jan 29 Jan 17 Jan 16 Sept 5 Sept 4 May 6 May 7 * J C

A WARM Welcome to the California Jazz Conservatory!

Forget about trying to compete with someone else. Create your own pathway. Create your own new vision. — Herbie Hancock

Mr. Hancock’s mandate resonates with the philosophy held by the CJC faculty and administration, a team that is one-hundred-percent dedicated to fostering a competition-

free environment that expressly encourages you to create your own pathway and new vision. welcome to the C And that, of course, is what jazz is all about: self-expression. Our commitment to forwarding your personal artistic mission is our program’s top priority. Our highest aspiration is to provide you with opportunities — both on and off campus — that will have nothing short of a profound effect on who you are and who you will become.

In support of this effort, our long-awaited new campus annex at 2040 Addison Street is scheduled to be completed this fall. Well-situated directly across the street from our current facility, this new addition will house classrooms, practice rooms, a performance venue, offices and a café. Watch for the announcement regarding our opening celebration!

Again, on behalf of the faculty and administration, I look forward to providing you with every opportunity to realize your full potential as forward-looking musicians and conscientious individuals. We are committed to preparing you to go out into the world and make your mark.

Yours in jazz,

Susan Muscarella President

California Jazz Conservatory 2087 Addison Street • Berkeley, California 94704 phone: 510.845.5373 • fax: 510.841.5373 1 web: 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 ...... 30 Message from the President ...... 1 Residency Requirements ...... 30 History and Program ...... 3 Juries and Senior Project ...... 30 Vision, Mission, Goals and Objectives ...... 4 Performance ...... 30 State Licensure ...... 6 Core Courses: Instrumental Track ...... 30 Accreditation ...... 6 Core Courses: Vocal Track ...... 30 Questions or Complaints ...... 6 Elective Courses ...... 31 Facilities and Student Services ...... 6 General Studies Courses ...... 31 Library ...... 7 Independent Study ...... 31 Record-Keeping ...... 8 Keyboard Proficiency ...... 31 Partnership with Berkeley Workshops and Master Classes ...... 31 Community College ...... 8 Curriculum Requirements Template ...... 32

General Information Course Descriptions

table of contents Admission Requirements ...... 8 Course Numbering ...... 35 Auditions ...... 9 Musicianship ...... 35 Placement Examinations ...... 9 Theory ...... 40 Tuition and Supplemental Fees ...... 10 Harmony ...... 42 Private Instruction ...... 12 Composition ...... 42 Scholarships ...... 13 History ...... 43 Work Study ...... 13 Private Instruction ...... 48 Code of Academic Integrity ...... 13 Instrumental Performance Ensembles ...... 49 Code of Conduct ...... 14 Vocal Performance ...... 53 Academic Standing ...... 15 Music Technology ...... 53 Academic Probation, Business of Music ...... 54 Suspension and Dismissal ...... 15 Recording Arts ...... 55 Housing ...... 15 Senior Project ...... 55 International Students ...... 15 Department of General Studies ...... 56 Financial Aid ...... 16 Faculty ...... 63 Policies Program and Student Enrollment Agreement ...... 24 Administrative Staff ...... 73 Cancellations, Withdrawals and Refunds ...... 24 Leaves of Absence ...... 25 Board of Directors

cjc.edu Attendance ...... 25 and Advisory Board ...... 74 Grading and Academic Penalties ...... 25 Adding, Dropping and Withdrawing Application for Admission ...... 75 from Courses ...... 26 Challenge Examinations ...... 26 Directions to the CJC ...... Inside Back Cover Credit for Prior Experiential Learning . . . . . 26 Credit Hour Policies ...... 27 Transfer Credit ...... 28 Notice Regarding Transferability of Credits ...... 29 Faculty Advisors ...... 29 Student Grievances ...... 29 – 2017 2016 jazz conservatory california Student Right To Privacy ...... 29 Injury Prevention ...... 29 2 About the CALIFORNIA JAZZ CONSERVATORY

History and Program

Founded in 2009, the California Jazz Conservatory • A synergistic, comprehensive jazz education (CJC) is a private independent music conservatory and performance program for today’s offering the aspiring professional musician a professional jazz instrumentalist and vocalist progressive education and performance baccalaureate degree program in Jazz Studies. • Small classes taught by professional artists and experienced educators in the field of The CJC is located in the historic Kress Building on jazz and related styles of music Addison Street in the heart of the Downtown • Opportunities to study with preeminent Berkeley Arts District. Part of the vibrant East Bay

visiting artists and educators about the cjc performing arts scene, the CJC is situated in close proximity to the Berkeley Repertory and Aurora • Performance opportunities at prominent Bay Theatres, The Freight & Salvage, the Berkeley Art Area venues; workshop opportunities with Museum and Pacific Film Archive, and the world resident faculty and visiting artists class performing arts presenter Cal Performances at the University of California, Berkeley. • Opportunities to record, study and perform at the world-renowned recording facility A nonprofit 501(c)(3) corporation, the CJC offers Fantasy Studios instrumentalists and vocalists a challenging core • Access to important networking opportunities music curriculum of performance, jazz theory and improvisation, ear training, composition, arranging, • Easy access to the San Francisco Bay Area’s transcription and analysis, and music history thriving arts scene via public transportation courses taught by professional artists and educators in jazz and related styles of music. The California Jazz Conservatory is an Equal Opportunity Employer. It does not discriminate The CJC holds its students accountable to the in the admissions process or in the awarding of highest artistic, academic and ethical standards financial aid on the basis of race, religion, sexual at all times. Evaluation of students’ development orientation, national origin, or disability. is based on their performance in classes, juries and concerts and culminates in a Senior Project, a final concert open to the public, that includes a synthesis and demonstration­ of all of their artistic and academic work throughout the 4-year degree program.The California Jazz Conservatory offers students: cjc.edu – 2017 2016 jazz conservatory california

3 California Jazz Conservatory Vision, Mission, Goals and Objectives

VISION GOALS AND OBJECTIVES The California Jazz Conservatory aspires to be an The following five goals and corresponding 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 artistic The California Jazz Conservatory is a nationally and academic standards and promoting a strong accredited music conservatory providing a dynamic work ethic.

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

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

– 2017 2016 jazz conservatory california

4 3. Honoring Historical and Cultural Heritage • Implementing targeted community The CJC strives to honor the historical and outreach efforts and providing scholarship cultural heritage of the jazz canon by: opportunities to deserving students in need of financial assistance. • Recognizing the historical and multicultural origins of jazz. • Providing a nurturing environment for students, teachers, scholars and artists • Highlighting the prominent role the jazz in the jazz field. art form has played in shaping American history and culture. • Providing an inviting setting for family, friends, and the greater music community • Offering curricula designed to inform and to celebrate students’ accomplishments and develop an appreciation of the relationship enjoy listening to jazz in its many forms. about the cjc between jazz and American culture and the global jazz diaspora. 5. Developing Collaborations The CJC strives to build relationships 4. Nurturing Diversity in All of its Forms and create collaborations with artistic The CJC strives to create a diverse, and educational constituencies by: all-inclusive, close-knit community by: • Providing access to local, national and • Seeking and embracing the cultural richness global perspectives and new and meaningful of a diverse constituency of students, faculty, educational and artistic resources. staff and greater music community. • Creating opportunities for student and faculty exchanges with music education programs locally, nationally and internationally. cjc.edu – 2017 2016 jazz conservatory california

5 State Licensure Questions or Complaints The California Jazz Conservatory is a private Any questions a student may have regarding this institution approved to operate by the Bureau catalog that have not been satisfactorily answered of Private Postsecondary Education in the State by the institution may be directed to the Bureau of California as set forth in the California Private for Private Postsecondary Education at: Postsecondary Education Act of 2009 (CEC) and Title 5, Division 7.5 of the California Code of Address Regulations (CCR). The Act is administered by 2535 Capitol Oaks Drive the Bureau for Private Postsecondary­ Education, Suite 400, Sacramento, CA 95833 under the Department of Consumer Affairs. P.O. Box 980818, West Bureau approval means the institution is in Sacramento, CA 95798-0818 compliance with and meets the minimum standards pursuant to the California Private Web site address Postsecondary Education Act of 2009. bppe.ca.gov about the cjc

Bankruptcy Disclosure: the CJC has never filed Telephone a bankruptcy petition, operated as a debtor in (888) 370-7589 or Fax: (916) 263-1897 possession, or had a bankruptcy petition filed (916) 431-6959 or Fax: (916) 263-1897 against it. A student or any member of the public may file a Accreditation complaint about this institution with the Bureau The California Jazz Conservatory is an accredited for Private Postsecondary Education by calling institutional member of the National Association (888) 370-7589 (toll-free) or by completing a of Schools of Music (NASM). NASM is recognized complaint form, which can be obtained on the by the United States Department of Education. Bureau’s internet web site: bppe.ca.gov.

“NASM, founded in 1924, is an organization As a prospective student, you are encouraged to of schools, conservatories, colleges and review this catalog prior to signing an enrollment universities with approximately 644 accredited agreement. You are also encouraged to review the institutional members. It establishes national School Performance Fact Sheet, which must be standards for undergraduate and graduate provided to you prior to signing an enrollment degrees and other credentials.” agreement. nasm.arts-accredit.org Facilities and Student Services Please note: This program does not lead to posi- The California Jazz Conservatory is housed in tions in a profession, occupation, trade, or career a 7,500 square foot aesthetically pleasing facility, field requiring licensure in the State of California. custom-designed for use as a music conservatory. Students have access to fully equipped classrooms (with pianos, drum sets, amplifiers and sound systems), practice rooms, a bookstore and an cjc.edu intimate performance space.

Student services include: the availability of counseling and mental health services around the clock; free tickets to the CJC year round concert series; two regularly-priced workshops free of ot all who master their charge each semester; and ongoing networking opportunities relevant to students’ professional craft are artists, but all N aspirations. The Jazzcaffè, an on-site café special- artists are masters of their craft. izing in panini, salads and a wide range of espresso drinks, is open to students 7 days a week. The CJC

– 2017 2016 jazz conservatory california — Professor Michael Zilber, Ph.D. provides free wireless internet access. CJC Faculty 6 All CJC class sessions are held at 2087 and 2040 The Art and Music Department can be found Addison Street, Berkeley, California. The Fantasy on the 5th floor of the Berkeley Public Library Studios Internship Program is held at 2600 Tenth and is open Mondays, 12pm – 8pm; Tuesdays, Street, Berkeley, California. 10am – 8pm; Wednesdays, Thursdays, Fridays and Saturdays, 10am – 6pm; and Sundays, 1pm – 5pm. Library Visit berkeleypubliclibrary.org for a Students have access to an extensive music complete schedule of holidays. collection housed in the Art and Music Department at the Berkeley Public Library Students may borrow up to 50 items at any given and the Jean Gray Hargrove Music Library on time with their Berkeley Public Library card. the University of California, Berkeley campus, Those items not available onsite may be both located within walking distance of the CJC. acquired through Link+. Students will be given assistance with obtaining library cards to both libraries. Jean Gray Hargrove Music Library. Founded in 1947 as a branch of the University Library, the about the cjc The Art and Music Department at the Berkeley Music Library was located on the second floor of Public Library. The scope of the music collection Morrison Hall from 1957 until July 6, 2004, when at the Art and Music Department runs from the Jean Gray Hargrove Music Library opened to Albinoni to Zouk — on compact disc, vinyl and the public. Its collections today contain some score. The rich jazz collection ranges from reissues 180,000 volumes of books and printed music, of vintage recordings to contemporary offerings 50,000 sound and video recordings, and 30,000 from the next generation of jazz masters. Music microforms in addition to extensive special holdings from around the globe is available in the audio of manuscripts, rare materials, and archives. The collection in all formats. collection serves the diverse teaching and research needs of the UC Berkeley Department of Music, The CD collection, started in September 1985, which offers a general undergraduate major and now includes over 14,000 titles. The Art and Music graduate programs in musicology, ethnomusicology,­ Department music collection also includes roughly and composition, as well as embracing a variety 6,000 vinyl records. Classical, opera, jazz, world, of performance activities. and popular music are represented. Printed music scores, a range of music biographies and books on The majority of materials in the Hargrove music theory and performance are readily available. Music Library — with the exception of sound and video recordings, periodicals, microforms, The Art and Music Department subscribes to over and special collections — circulate for use outside forty periodicals covering a variety of musical the library. Borrowing materials requires a current genres, specific instruments, and recorded sound. UC Berkeley Library card. Borrowers must have Their periodical collection also includes the a current library card issued by the Privileges impressive Greenwood Press jazz periodicals Desk at Doe Library. Visitors are welcome to use collection, a microfilm archive of the historical jazz collections on-site.

periodical, containing reviews and events dating lib.berkeley.edu/MUSI/collections.html cjc.edu back to the 1920s.

Electronic resources available through the Berkeley Public Library website allow patrons to listen online to recordings of classical and contemporary music from around the world. – 2017 2016 jazz conservatory california

7 Record Keeping GENERAL INFORMATion The California Jazz Conservatory Registrar and Custodian of Records maintains a secure file for each Admission Requirements student that contains pertinent information including Both incoming freshmen and transfer students are but not limited to: the Application for Admission; accepted into the CJC based on the following: transcripts from the CJC and other institutions (including verification of high school completion or 1. A completed application form including a the equivalency); documents evidencing a student’s personal statement outlining your past prior experiential learning; class scheduling and accomplishments, future objectives and registration; degree requirements and progress how and why you believe the CJC will help reports; attendance; grading; documents relating to you realize them. tuition, financial assistance and scholarships; records 2. An official high school transcript. All students of the dates of enrollment, withdrawal, leaves of must have a satisfactory academic record and absence, suspension and/or dismissal from the have earned an overall GPA of 2.0 or higher to about the cjc institution and graduation; copies of any official be admitted to the CJC. Photocopies are not advisory notices or warnings regarding the student’s accepted. Please note: the CJC does not accept progress; results of juries or other examinations; ability-to-benefit students. copies of recordings programs, awards or other accomplishments of note; and/or evaluations, 3. Official college transcript(s) if applicable. Please suggestions and/or complaints. The CJC shall Note: all students must have a satisfactory maintain pertinent student records for a period of at academic record and have earned an overall least 5 years from the student’s date of completion GPA of 2.0 or higher to be admitted to the CJC. or withdrawal. Transcripts documenting the comple- Photocopies are not accepted. tion of the degree will be maintained permanently. 4. Two original letters of recommendation, at least Student records are strictly confidential. A student one of which is from a professional musician wishing to disclose their educational record to any and/or music educator familiar with your work other party must first submit written proof of and professional objectives. Photocopies are authorization to the Registrar and Custodian not accepted. of Records. Authorization may be revised at any 5. A live audition. Students living more than time throughout a student’s tenure at the CJC. 150 miles from the CJC may substitute a DVD of their playing in lieu of a live audition. (See Auditions, Audition Requirements and Partnership with Berkeley City College Placement Examinations, next section). The California Jazz Conservatory is pleased to announce the formation of a new partnership with 6. Results of the Ear Training and Sight Singing Berkeley City College. Located at 2050 Center and Jazz Theory and Improvisation Placement Street, just one block from the CJC, Berkeley City Exams. (See Auditions, Audition Requirements College offers a wide range of courses that fulfill and Placement Examinations, next section). CJC General Studies requirements in English cjc.edu (6 credits), Humanities (6 credits), Mathematics (3 credits), and Elective requirements (5 credits).

See Department of General Studies for General Studies courses approved for transfer from Berkeley City College. Elective courses must be degree-relevant and are accepted for transfer on a by-approval basis by the Dean of Instruction. For Berkeley City College course descriptions and class schedules, please visit berkeleycitycollege.edu/wp/programs/

– 2017 2016 jazz conservatory california class-schedules-and-catalogs/.

8 degree program, studentsare expectedtohave: Please note:To beacceptedintotheJazzStudies Berkeley, CA94704 2087 AddisonStreet Office ofAdmission JazzConservatory California $100 ApplicationFeeto: from theCJC))alongwithanon-refundable for thosestudentslivingmore than150miles recommendation andplayingsamples(only supporting materials(transcripts,lettersof To apply, visitcjc.edu/apply. Pleasesendall 7. 2. Basicmusicianshipskillsincluding: AND 1. of timesthetestmaybetaken. the testdateandthere is nolimittothenumber CJC. TOEFLscores are validfortwoyearsafter score of75orhighertobe admittedintothe TOEFL (pBT)scores. Applicants mustreceive a scores only. Please donotsubmitpaper-based The CJCacceptsinternet-basedTOEFL(iBT) or universitymayrequest TOEFLexemption. degree program atanEnglish-speakingcollege Applicants whohavecompleteda4-year Foreign Language(TOEFL) priortoenrolling. score report from theTest ofEnglishasa non-native speakersmustsubmitanofficial proficiency is required foradmission.All occurs inEnglish.AhighlevelofEnglish TOEFL (iBT)score. Allinstruction attheCJC For internationalstudents,aninternet-based abilitytosightsingasimplemelodic • The abilitytotakesimplemelodicand • The abilitytoidentifysimpleandcom- • The dominantandminorseventh chords • Major, minor,• Major, diminishedandaugmented andminorscaleskeysignatures • Major A basicknowledgeofmusictheoryincluding: line rhythmic dictation pound intervalsandseventhchords byear triads in bothtreble andbassclefs hour inlength. Theory andImprovisation placementexamisone approximately 30minutes inlength;theJazz audition. TheMusicianshipplacementexamis tions are administered directly followingthe ship andJazzTheoryseries.Placementexamina- placement appropriate placement intheMusician- knowledge andskills,determineappropriate not graded:theyservetoconfirmbasic required Theory andImprovisation. Placementexamsare ship (EarTraining andSightSinging),Jazz must taketwoplacementexaminations:Musician- All studentsapplyingforadmissiontotheCJC Placement Examinations given ashortselectiontosight-read. tune; andanup-tempojazztune.Theywillalsobe a medium-tempo12-barblues;ballad;Latin improvise overthefollowingtunesoftheirchoice: year. Studentsmustbeprepared toperformand and maybescheduledthroughout theacademic Auditions are approximately 30minutesinlength schedule youraudition. has beenreceived, theRegistrarwillcontactyouto from theCJC.Afteryourcompletedapplication audition forstudentslivingmore than150miles samples onaDVDare acceptedinlieuofalive students livinglocally;pre-recorded performance held on-site.Aliveauditionisrequired forall must auditionpriortoacceptance.Auditionsare All studentsapplyingforadmissiontotheCJC Auditions

9 california jazz conservatory 2016 – 2017 cjc.edu general information Tuition and Supplemental Fees To create a payment plan, contact the Registrar at [email protected]. • Tuition — Instrumentalists Full-Time (12 credits and above / semester): Tuition is due at the time of registration. (See $8,650 (including 1 credit of Private Instruction; registration dates listed in the Academic Calendar not including Individual Tutorial or Trio Instruction) on the inside front cover of the General Catalog.) Students registering after the registration period Part-Time (11 credits or fewer / semester): are subject to a late registration fee of $50. $650 / credit (not including 1 credit of Private Instruction/Individual Tutorial or Trio Instruction) Students must pay tuition and fees in full, have Private Instruction / Individual Tutorial: applied for Financial aid, or have created an $1,500 / credit in-house semester-long payment plan prior to the first day of instruction to attend classes. Trio Instruction: $1,000 / credit

In-House Payment Plan — The CJC offers students • Tuition — Vocalists the option of paying their tuition on a monthly Full-Time (12 credits and above / semester): basis for a fee of $50/semester. The CJC In-House $8,950 (including Private Instruction; not including Payment Plan must be created at the time of Individual Tutorial or Trio Instruction) registration each semester. For fall semester, tuition Part-Time (11 credits or fewer / semester): $650 / is divided up into five equal payments due on the credit (not including Private Instruction/Individual first of the month for months August – December;

general information Tutorial or Trio Instruction) for spring semester tuition is divided up into five equal payments due on the first of the month for Private Instruction / Individual Tutorial: months January – May. A late fee of $25 will be $1,500 / credit charged for payments submitted after the first of Trio Instruction: $1,000 / credit each month. To create a payment plan, contact the Registrar at [email protected]. Please Note: Tuition is due at the time of registration. (See registration dates listed in the Academic Calendar Students with an outstanding balance who have on the inside front cover of the General Catalog.) not applied for financial aid or created a payment Students registering after the registration period are plan by week three will be dropped from the subject to a late registration fee of $50. Students must program. Students with overdue tuition may not either pay tuition and fees in full or have created an register for succeeding semesters. Seniors with in-house semester-long payment plan prior to the first outstanding tuition will be prohibited from taking day of instruction to attend classes. Please note: part in their graduation ceremony and will not be Students with overdue tuition may not register for issued their transcript. succeeding semesters. Seniors with outstanding tuition will be prohibited from taking part in their graduation Please note: tuition at the California Jazz ceremony and will not be issued their transcript. Conservatory is subject to increase by

cjc.edu approximately 4% per year. The CJC offers students the option of paying their tuition on a monthly basis for a fee of $50/semester. • Application Fee The CJC In-House Payment Plan must be created Students must pay a one-time, non-refundable at the time of registration each semester. For fall Application Fee of $100. The Application Fee is semester, tuition is divided up into five equal submitted along with the Application for Admission. payments due on the first of the month for months August–December; for spring semester tuition is • Registration Fee divided up into five equal payments due on the A non-refundable Registration Fee of $50 is first of the month for months January–May. A late charged per semester. Students registering after fee of $25 will be charged for payments submitted the deadline will be charged a Late Registration Fee after the first of each month. Note: the current of $50 (please see Academic Calendar 2016 – 2017 – 2017 2016 jazz conservatory california semester’s tuition must be paid in full before a on the inside front cover for registration deadlines). student may register for the subsequent semester. 10 • Enrollment Deposit • Student Tuition Recovery Fund (STRF): New students are required to pay a non-refund- Students are required to pay the non-refundable able Enrollment Deposit of $100 at the time of state-imposed assessment for the Student Tuition their acceptance into the program. Returning Recovery Fund (STRF) of $0.00 per every $1,000 of students are required to pay a non-refundable tuition each semester. California law requires that Enrollment Deposit of $200 on or before June 1, upon enrollment a fee be assessed relative to the prior to each fall semester, and on or before cost of tuition. These fees support the Student December 1, prior to each spring semester. The Tuition Recovery Fund (STRF), a special fund Enrollment Deposit is credited to students’ tuition established by the California Legislature to for the upcoming semester. A late fee of $100 per reimburse students who might otherwise experi- month will apply to an Enrollment Deposit made ence a financial loss as a result of untimely school 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 technologies and internet resources, and all your tuition either by cash, guaranteed student

students are expected to own or have access to loans, or personal loans, and general information a computer running Mac OS 10.5 or Windows 7 at minimum with high-speed internet access for 2. Your total charges are not paid by any third- research, communication and coursework. For party payer such as an employer, government music technology courses, a laptop with a recent program or other payer unless you have a version of Sibelius and Pro Tools is required to separate agreement to repay the third party. participate. If purchasing a computer and software specifically for this program, we recommend a You are not eligible for protection from the STRF Macintosh laptop, a standard word processing and you are not required to pay the STRF assess- suite such as Microsoft Office or OpenOffice, and ment, if either of the following applies: the Sibelius music notation program, for maximum compatibility with the material and software being 1. You are not a California resident, or are not 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 a or other payer, and you have no separate library card for the Jean Gray Hargrove Library at UC agreement to repay the third party.

Berkeley. cjc.edu The State of California created the Student Tuition • Challenge Examinations Recovery Fund (STRF) to relieve or mitigate The fee for Challenge Examinations (testing out economic losses suffered by students in educa- of a course) is $275 per course. tional programs who are California residents, or are enrolled in a residency programs attending certain • Transcripts schools regulated by the Bureau for Private Official transcripts are issued for a fee of $10 per Postsecondary Education. transcript. Unofficial transcripts are free of charge. To request a transcript, please contact the Registrar at registrar @cjc.edu. – 2017 2016 jazz conservatory california

11 You may be eligible for STRF if you are a California — Tuition Vocalists: $8,950 / semester, full-time resident or are enrolled in a residency program, enrollment; $650 / credit, part-time enrollment prepaid tuition, paid the STRF assessment, and — Private Instruction / Individual Tutorial: suffered an economic loss as a result of any of $1,500 / credit the following: — Trio Ensembles: $1,000 / credit 1. The school closed before the course of — STRF fee: $0.00 per $1,000 of tuition instruction was completed. (per semester); see under Student Tuition Recovery Fund 2. The school’s failure to pay refunds or charges — Challenge Examinations: $275 / course on behalf of a student to a third party for license — Textbooks and supporting materials: fees or any other purpose, or to provide equipment $300 / semester (estimated) or materials for which a charge was collected within 180 days before the closure of the school. — Music Software: $600 (estimated) — 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 Tuition Charges reimburse proceeds received by the school prior to closure in excess of tuition and other costs. Instrumentalists Full-time enrollment ($8,650 / semester over

general information 4. There was a material failure to comply with the 8 semesters): $69,200 Act or this Division within 30 days before the school closed or, if the material failure began Full-time enrollment ($8,650 / semester over earlier than 30 days prior to closure, the period 9 semesters): $77,850 determined by the Bureau. Part-time enrollment — Instrumentalists/ ($650 / credit @ 136 credits): $95,200 5. An inability after diligent efforts to prosecute, Part-time enrollment — Pianists ($650 / prove, and collect on a judgment against the credit @ 134 credits): $93,900 institution for a violation of the Act. Vocalists However, no claim can be paid to any student Full-time enrollment ($8,950 / semester over without a social security number or a taxpayer 8 semesters): $71,600 identification number. Full-time enrollment ($8,950 / semester over 9 semesters): $80,550 • Summary of Tuition and Supplemental Fees Part-time enrollment ($650 / credit @ — Application Fee (one-time, non-refundable): 136 credits): $95,200 $100

— Enrollment Deposit (per semester, Private Instruction cjc.edu non-refundable; applied to tuition): $100 Students are required to take fifteen one-hour private (new students); $200 (returning students) lessons per semester. Please see p. 72 for a list of — Enrollment Deposit Late Fee (per month): approved private instruction faculty. The cost of one $100 (See under Enrollment Deposit) credit of private instruction is included in full-time tuition; the rate for private instruction for part-time — Registration Fee (per semester, students is $1,500 per credit and includes the cost of non-refundable): $50 CJC room rental. Private lessons are scheduled on a — Late Registration Fee (per semester): $50 to-be-arranged basis between student and teacher. — Late Payment Fee (per month): $50 (per All fifteen hours of private instruction must be terms of the Enrollment Agreement) completed within the semester in which the student is enrolled. — Tuition Instrumentalists: $8,650 / semester, – 2017 2016 jazz conservatory california full-time enrollment; $650 / credit, part-time enrollment 12 In addition to the 8-credit Private Instruction Code of Academic Integrity requirement, students may choose to use 4 Elec- Academic integrity is central to forwarding the tive credits toward private instruction on an instru- mission, goals and objectives of the California Jazz ment/voice other than their primary instrument/ Conservatory. The CJC is committed to providing voice. For example, a guitarist pursuing a career an environment conducive to all aspects of as a singer/songwriter may take up to 4 Elective teaching and learning. CJC students are held to credits of Private Instruction in vocal technique. the highest moral and ethical standards and are obligated to conduct themselves in a manner Scholarships consistent with the principles as stated in the The CJC awards unsolicited partial scholarships on Code of Academic Integrity as follows: occasion to qualified students based on a combi- nation of artistic merit, financial need and the The Code of Academic Integrity prohibits particular needs of the program at the time of students from engaging in any acts of academic inquiry. Students must maintain a cumulative GPA dishonesty whatsoever including but not limited of 3.0, and earn a C or higher in all classes, to to: plagiarizing; lying; cheating; and/or fraud. remain eligible for scholarships. Note: students Under the Code of Academic Integrity: receiving a scholarship who earn a non-passing grade of C– or lower in any required courses are Plagiarizing is defined as taking ownership responsible for retaking those courses of the work or idea of another as one’s at their own expense. own without crediting the source.

Lying is defined as making a false

The following scholarships are awarded to CJC general information students who demonstrate a combination of statement which is intended to artistic promise, commitment to excellence, and deceive. financial need on an as-available basis:

• The Jamey Aebersold Scholarship Established in honor of Jamey Aebersold, one of the world’s leaders in jazz education and performance, the Jamey Aebersold Scholarship provides financial support for promising CJC students.

• The William E. Robinson Scholarship The William E. Robinson Scholarship is awarded to a CJC student who demonstrates commitment to excellence in the fields of jazz and related styles of music.

Work-Study cjc.edu The California Jazz Conservatory offers work-study opportunities on an as-available basis. Work-study positions may include accompaniment, light office work, bookstore staffing and more. Please contact the Dean of Instruction regarding availability of work-study positions. – 2017 2016 jazz conservatory california

13 Cheating is defined as benefitting from acting • Use or sale of illegal drugs dishonestly or unfairly. • Alcohol intoxication Fraud is defined as serving as an impostor for personal gain. • Smoking within 50 feet of campus • Disorderly conduct of any kind All alleged infractions of the Code of Academic Integrity should be reported to the Dean of • Non-consensual physical contact of Instruction in writing. The Dean of Instruction, a sexual nature together with the student’s instructor, will thor- oughly review the allegations for their veracity, and • Damaging or defacing CJC property based on their findings, will determine the appro- or resources priate action. Proof of violation of the Code of • Theft or attempted theft Academic Integrity will result in either reprimand and a loss of credit for the assignment, loss of • Possession of weaponry of any kind credit for the course, suspension for one year, or permanent dismissal, depending on the serious- All alleged infractions of the Code of Conduct ness of the offense. Students found in violation should be reported to the Dean of Instruction in must meet with the Dean of Instruction in person writing. The Dean of Instruction, together with the at which time they will be given a written notice student’s instructor, will thoroughly review the citing the infraction and consequences of the allegations for their veracity, and based on their offense. Any academic and/or financial penalties findings, will determine the appropriate action. general information will apply as of that date. Proof of violation of any aspect of the Code of Conduct will result in either reprimand, probation Please note: In the case of suspension, a student is for the remainder of the semester and subsequent required to reapply for admission into the program semester, suspension for one year, or permanent as a new student (see under Admission Require- dismissal, depending on the seriousness of the ments). In the case of dismissal, a student may not offense. Students found in violation must meet with reapply for admission into the program. Violation the Dean of Instruction in person at which time of the Code of Academic Integrity that results in they will be given a written notice citing the either suspension or dismissal will be permanently infraction and consequences of the offense. Please attached to a student’s transcript. note: Academic and financial penalties (see under Cancellations, Withdrawals and Refunds and Code of Conduct Adding, Dropping and Withdrawing from Courses) The California Jazz Conservatory is committed to will apply as of the date of the written notice. providing our collegiate community of students, Please note: In the case of suspension, a student is faculty and staff with an environment conducive to required to reapply for admission into the program the freedom to teach and to learn — a setting that as a new student (see under Admission Require- promotes intellectual freedom, nurtures individual ments). In the case of dismissal, a student may not creativity and self-expression and is free from reapply for admission into the program. Violation cjc.edu discrimination of any kind. Violations of the of the Student Code of Conduct that results in Student Code of Conduct include but are not either suspension or dismissal will be permanently limited to the following on-campus acts: attached to a student’s transcript.

• Harassment, whether verbal, physical or written Students enrolled in the CJC are held to the (including electronic communications), which highest standards of conduct and must obey is directed at an individual and/or member of federal, state and local laws. a protected class, that extends beyond the bounds of protected free speech – 2017 2016 jazz conservatory california

14 Academic Standing Housing Undergraduate students are classified as either There are no living accommodations available Lower or Upper Division. through the California Jazz Conservatory at this time. The CJC is not responsible for finding or Lower Division students include: assisting a student in finding housing. CJC students are responsible for making arrangements Freshman — Students who have completed for their own housing. The CJC is located within 0 – 34 credits of passing work. easy walking distance of a number of student- Sophomore — Students who have completed friendly apartment complexes in downtown 35 – 68 credits of passing work and have passed Berkeley and the nearby vicinity and is also easily their freshman jury. accessible by BART for students who wish to live outside of the city. As of January 2016, average Upper Division students include: monthly apartment rent in Berkeley ranged from $1,945 for a studio; $2,200 for a one-bedroom; Junior — Students who have completed and $3,175 for a two-bedroom apartment. 69 – 102 credits of passing work and have passed their sophomore jury. International Students Senior — Students who have completed The California Jazz Conservatory is authorized 103 – 136 credits of passing work and have to issue the F-1 student visa. For information on passed their junior jury. how to obtain the F-1 student visa, please visit https://www.ice.gov/sevis. Academic Probation, Suspension and Dismissal general information All students must maintain a minimum cumulative Please note: international students are required grade point average of 2.0 or higher to remain in to submit an application along with a high school good academic standing (see Grading). transcript, college transcripts (if applicable), two letters of recommendation, a TOEFL score (see under Academic Probation — A student whose cumula- 7. on page 9), and a playing sample in the form of tive grade point average falls below 2.0 will be a DVD. International students are also required to placed on academic probation until the end of the do a live audition and take the Ear Training and semester after his/her cumulative GPA returns to Sight Singing and Jazz Theory and Improvisation 2.0 or above. A student must earn a semester Placement Exams upon grade point average of a minimum of 2.0 each their arrival at semester while on academic probation. the CJC.

Academic Suspension — A student on academic probation whose current semester grade point average falls below 2.0 will be suspended for one year and must reapply for admission into the program as a new student (see under Admission Requirements). cjc.edu

Academic Dismissal — A student who is suspended for the second time will be dismissed and may not reapply for admission into the program.

Please note: Students must maintain a minimum cumulative grade point average of 2.0 to be eligible for payment plans or scholarship. – 2017 2016 jazz conservatory california

15 FINANCIAL AID AT THE Loans CALIFORNIA JAZZ CONSERVATORY A loan is a financial award that must be repaid. The following loans are available through the USDE: The California Jazz Conservatory is committed to assisting each and every student with the cost • Federal Direct Loans of covering their tuition and living expenses. There are two types of Federal Direct Loan The following is an overview of the various Programs: subsidized and unsubsidized. sources of financial aid available to CJC students. Sources include federal financial Subsidized Direct Loan Program — Students aid (grants, loans and work-study), the CJC with calculated financial need may borrow under in-house payment plan, CJC scholarships and the Subsidized Direct Loan Program. Under the additional resources for parents. Subsidized Direct Loan Program, the federal government pays the interest on the loan while financial aid students are in school and during their grace Federal Sources of Financial Aid period. Note 1: students must be enrolled at (grants, loans and work study) least half-time to be eligible for the Subsidized Direct Loan Program. Note 2: A student’s EFC is Grants taken into consideration when determining his/ A grant is a financial award that does not have her eligibility for a Subsidized Direct Loan. to be repaid. The following grants are available through the US Department of Education (USDE): Unsubsidized Direct Loan Program — Students with no calculated financial need may borrow • Federal Pell Grants under the Unsubsidized Direct Loan Program. For the 2016-2017 Award Year, the projected The interest rate is the same, but unlike maximum Federal Pell Grant amount is $5,775. the Subsidized Direct Loan Program, the Awards are need-based and will vary based on government does not pay the interest on the student’s EFC and the student’s enrollment the loan. Students have the option of paying status (see Enrollment Definitions below). Note: the interest while in school, or having it added students who are enrolled less than half-time to their principal when they graduate or cease may be eligible for Pell Grants. being enrolled on at least a half-time basis. Note 1: Students must be enrolled at least Enrollment Definitions (per semester) half-time to be eligible for the Unsubsidized Full-time enrollment: 12 credits or more Direct Loan Program. Note 2: A student’s EFC is Three-quarter enrollment: 9–11 credits not taken into consideration when determining Half-time enrollment: 6–8 credits his/her eligibility for an Unsubsidized Direct Less than half-time Loan; however, any other aid received is a enrollment: 1–5 credits consideration (for example, if the student is eligible to receive a Subsidized Direct Loan • Federal Supplemental Opportunity or a Pell Grant).

cjc.edu Grant (FSEOG) The Supplemental Opportunity Grant (FSEOG) is After reviewing the FAFSA, the Financial Aid Office for those students who demonstrate exceptional determines the maximum amount that a student financial need. Funds are extremely limited; can borrow each year based on: Federal Pell Grant recipients take priority. EFC (Expected Family Contribution); Award amounts vary between $100 – $250 per Dependency status (whether they are academic year. considered dependent or independent according to the student’s FAFSA); Grade level at the beginning of the loan period. – 2017 2016 jazz conservatory california

16 The following are the maximum amounts dependent and independent students can borrow each year.

Dependent undergraduates (excluding dependent students whose parents are ineligible for PLUS)

Credits Subsidized Total (subsidized completed & unsubsidized

Freshman 0 – 33 $3,500 $5,500 Sophomore 34 – 67 $4,500 $6,500 Junior and 68 + $5,500 $7,500 Beyond financial aid

Independent undergraduates (including dependent students whose parents are ineligible for PLUS (see below))

Credits Subsidized Total (subsidized completed & unsubsidized

Freshman 0 – 33 $3,500 $9,500 Sophomore 34 – 67 $4,500 $10,500 Junior and 68 + $5,500 $12,500 Beyond

Parent Loans for Undergraduate Students Loans Fees (PLUS) — The PLUS program allows qualified At each disbursement the Department of Educa- parents to borrow funds to help support their tion deducts a fee. The loan fee for Direct Loans dependent children while their son/daughter (Subsidized and Unsubsidized) is 1.068% for loans is attending college. Unlike the Subsidized and on or after 10/1/15 and before 10/1/16; the fee for Unsubsidized Direct Loans, the parent must pass the PLUS loan is 4.272% for loans on or after a credit check; if the parent does not pass the 10/1/15 and before 10/1/16. credit check they may either appeal or provide a co-signer for the loan. Federal Work-Study (FWS) Federal Work-Study (FWS) is money that is The EFC is not used in calculating PLUS earned while attending school and that does not eligibility (i.e., PLUS can replace the EFC), and have to be repaid. FWS is a form of student the total amount a parent can borrow may not employment — a need-based financial aid award cjc.edu exceed the student’s Coast of Attendance (COA) that allows students to work on campus part- minus all other aid received. time. It is not a grant (because students must work to earn it), and it is not a loan (because A dependent student whose parent is ineligible students do not have to repay it). for a PLUS loan may be eligible for increased unsubsidized loans as shown above. – 2017 2016 jazz conservatory california

17 In order to receive FWS, students must complete The CJC offers students the option of paying their the FAFSA and have FWS eligibility. Federal tuition on a monthly basis for an administrative fee funding is limited. FWS funds are distributed on of $50/semester. Payment plans must be created an as-available basis. Students can only apply for at the time of registration. For fall semester, tuition FWS positions if they have this as part of their is divided up into five equal payments due on the financial aid package. They are paid an hourly first of the month for months August-December; wage on a bi-weekly basis for hours worked, and for spring semester, tuition is divided up into five their paycheck will be sent directly to them equal payments due on the first of the month for instead of applied to their bill. Note: students months January-May. A late fee of $25 will be who are awarded FWS must complete all of the charged for payments submitted after the first of forms listed in the FWS Guidelines. each month. Note: the current semester’s tuition must be paid in full before a student may register CJC Scholarships for the subsequent semester. To create a CJC financial aid The CJC awards partial scholarships on an as- In-House Payment Plan, please contact the available basis to qualified students based on Registrar at [email protected]. a combination of:

• Artistic merit How to Apply for Federal Financial Aid • Financial need • The particular instrumental/vocal needs Obtaining a Federal Student Aid (FSA) ID of the program at the time of inquiry The first step in applying for Federal financial aid is to obtain an FSA ID. Note: prior to May 2015, this Students must maintain a cumulative GPA of 3.0, was known as a PIN. Students who have a PIN and earn the grade of C or higher in all classes, to must now obtain a new FSA ID. The website for remain eligible for scholarships. Note: Students creating a new FSA ID is https://fsaid.ed.gov. receiving a scholarship who earn a non-passing grade of C- or lower in any required course(s) are The FSA ID consists of a username and password responsible for retaking those courses at their own that students must use to log in to certain U.S. expense. Department of Education (ED) websites. The FSA ID enables students to access their personal To inquire about availability of CJC scholarships, information on ED websites such as the Free please contact the Registrar at [email protected]. Application for Federal Student Aid (FAFSA®) at www.fafsa.ed.gov. Additional Resources for Parents Parents and students can use a variety of resources The FSA ID is used to sign legally binding docu- to cover their Educational Expenses such as: ments electronically. It has the same legal status as a written signature. Besides being used for • PLUS Loans (dependent students only). completing the FAFSA, students can also use • Student’s Financial Aid Package (including their FSA ID for signing their Master Promissory

cjc.edu loans, grants, and Federal Work Study). Please Note (MPN) and for completing Loan Entrance communicate with your son/daughter. Counseling (a requirement for loan borrowers). • The CJC In-House Payment Plan • Outside scholarships Note: parents of dependent students (those • Tax-free accounts and tax benefits plans students living at home) will need their own FSA ID (Coverdell and 529 Plans) if they want to sign their son’s or daughter’s FAFSA • Federal veterans benefits electronically. If parents have more than one child • Tuition benefit plans set up by employers or attending college, they can use the same FSA ID agencies to help students/parents pay for to sign all applications. college costs. – 2017 2016 jazz conservatory california

18 Completing the FAFSA The CJC Financial Aid Office creates an annual To apply for federal student aid, students must budget for each student based on the following complete the FAFSA at www.fafsa.ed.gov. costs: Students will need to include the CJC School Code: 042376. The school code authorizes the ED • Tuition and Fees to send students’ FAFSA information to the CJC. • Room & Board • Transportation When completing the FAFSA, students (and their • Books & Supplies parents if students are dependent) will be asked • Loan Fees to provide federal tax return information for the • Personal/Miscellaneous Expenses previous tax year. The easiest (and recommended) way to do this is to allow the FAFSA website to If there are unusual expenses (for example, unusual access their IRS tax return by using the IRS Data medical expenses, child care, etc.), the Financial financial aid Retrieval Tool (DRT). This step links their FAFSA Aid Office can, with adequate documentation, to the appropriate federal tax return and enters make adjustments to an individual student’s the information for them. budget. Note: again, this can only be done on a case-by-case basis. Verification Some students will be selected by the Department The Financial Aid Office calculates budgets for of Education to have their information “verified” both dependent students (those students living by the CJC Financial Aid Office. The CJC will send at home) and for independent students (those those students who are selected for verification students not living at home). This information is the appropriate form that they will need to return initially derived from the student’s FAFSA. (along with any supporting documentation) within 30 days of the date of the notice. Typically, items Note: A student’s total financial aid may not that may require verification include income exceed the student’s COA. information, household members, and number in college. Note: If students used the IRS DRT and did not make any changes, they most likely will not Student Budgets have to provide any backup documents. There may be other items requiring verification, but these are Tuition and Fees the most common. Tuition for the 2016-2017 academic year is as follows: The CJC Financial Aid Office requires that students complete the verification process before their • Application fee (a one-time fee, new students loans are certified (approved) and sent to the ED. only): $100 • Registration fee (all students): $50 / semester • Full-time students (taking 12 or more credits How Financial Aid is Determined per semester): $8650, instrumentalists;

$8950, vocalists cjc.edu Financial aid awards are based on demonstrated • Part-time students (taking 11 or fewer credits financial need, which is the difference between the per semester): $650 / credit family’s Expected Family Contribution (EFC) plus • Private instruction/Individual Tutorial: the student’s own resources (EFC and any other $1,500 per credit financial aid), and the allowable educational • Trio ensembles: $1,000 per credit expenses or Cost of Attendance (COA).

The USDE determines the EFC, which is based on the information submitted on the student’s FAFSA. If there are unusual or extenuating circumstances, the Financial Aid Office may make adjustments based on adequate documentation, on a case-by- – 2017 2016 jazz conservatory california case basis. 19 The following table shows California Jazz Conservatory tuition and fees for the 2016-2017 academic year for a continuing full-time instrumental student taking 12-18 credits per semester. Note: vocalists add $300/semester.

Category Fall Semester Spring Semester Annual Total

Tuition $8,650 $8,650 $17,300 Reg. Fee $50 $50 $100 Total $8,700 $8,700 $17,400

Non-CJC Expense Estimates for Students — For the purposes of determining eligibility for Federal Financial

financial aid Aid, the Financial Aid Office uses the following estimates based on California Student Aid Commission (CSAC) Student Expense Budgets for 2016–2017. Note: these costs are estimates only.

With Parents Off Campus Housing

Category Semester annual semester annual

Books & Supplies $882 $1,764 $882 $1,764 Room & Board $2,385 $4,770 $5,985 $11,970 Transportation $562 $1,125 $634 $1,269 Personal / Misc. $1,579 $3,159 $1,449 $2,898

Total $5,305 $10,611 $8,693 $17,388

The Financial Aid Offer Letter Loan Entrance Counseling After the CJC Financial Aid Office receives a Students who are first time loan borrowers at the student’s FAFSA, it will determine the maximum California Jazz Conservatory must complete Loan eligibility for financial aid and send them a Finan- Entrance Counseling at studentloans.gov. cial Aid Offer Letter. The Offer Letter will list what types of financial aid are available to students. Master Promissory Note Students have the option of either accepting or If students have never had a student loan before declining any of the awards listed or even request- (or within the last 10 years) and wish to accept one, ing a lower amount in loans if they choose. they must complete the Master Promissory Note Students must then print a copy, sign it and return (MPN) at studentloans.gov.

cjc.edu it to the CJC Financial Aid Office before their financial aid can be finalized. Adjustments to Awards The California Jazz Conservatory reserves the right Note: Although loans will not be certified by the to adjust or cancel financial aid awards at any time CJC Financial Aid Office until the student’s award for several reasons. Examples include, but are not letter has been signed and returned (and, if limited to: selected, verification completed), students will still be able to decline or reduce their loan amounts up • A determination by the Department of to 14 days after the disbursements have been Education of a change in the student’s eligibility received by the CJC and posted to their student • A student who fails to make Satisfactory account. When the CJC receives the loan funds, Academic Progress (See p. 21) the business office will send students an email • Changes in availability of funding or – 2017 2016 jazz conservatory california notification of the amounts and date posted, with • Changes in a student’s financial need information on how to change their loan amounts. 20 Disbursement Dates Satisfactory Academic Progress (SAP) Financial Aid funds will be requested from the Federal Financial Aid regulations require schools Department of Education within 3 days after to certify that each student applicant for Federal the end of the drop/add period each semester. Financial Aid is making Satisfactory Academic When these funds are received and posted to the Progress (SAP). SAP has two parts: student’s account, the business office will send out a notification of the date and amounts posted, and when any credit balance due to students 1. GPA: Students receiving financial aid must will be available. In addition, if loan funds are maintain a cumulative GPA of 2.0 or above. received, students will still have the option of 2. Maximum Time Frame: According to federal either declining or reducing the amount of their regulations, students receiving financial aid may loans within 14 days of that notice. not exceed 150 percent of the standard time

expected of a student to complete her/his financial aid First Year, First Time Borrower “30-day Delay” — degree. This means that the maximum time For first-year, first time students who have never frame for eligibility for Federal Financial Aid is borrowed under the federal student loan pro- 6 years. This includes all terms, whether or not grams, federal regulations require that the first the student actually received financial aid. It disbursement of a loan cannot be disbursed earlier also includes enrollment periods prior to the than 30 days after the start of classes. CJC’s participation in the Federal Financial Aid programs. Early Disbursement for Pell Grants and Books — Students who are Pell Grant recipients, and whose When looking at each student’s enrollment total aid is in excess of the current semester’s history, the CJC will evaluate whether or not charges, may use that balance to pay for required the student has completed the appropriate text books up to 10 days prior to the beginning of number of credits at the time of financial aid that semester. certification, based on the individual student’s enrollment history.

In order to meet this maximum time frame 2016 – 2017 Disbursement Schedule of 6 years to completion, for financial aid F fall Semester purposes, full-time students need to satisfactorily complete (at a minimum) the following number Pell Available for Books 08/15/2016 of cumulative credits per academic year: First Day of Instruction 08/22/2016 Last Day to Add /

Drop a Class 09/04/2016 Credits Required for Completion Disbursement Date 09/10/2016 % of Total required Instrumentalists Excess Funds available and Vocalists Pianists to students 09/24/2016 Credits 136 134

S spring Semester After cjc.edu Pell Available for Books 01/09/2017 Year 1 17% 23 22 First Day of Instruction 01/19/2017 Year 2 33% 45 45 Last Day to Add / Year 3 50% 68 67 Drop a Class 01/31/2017 Year 4 67% 91 89 Disbursement Date 02/03/2017 Excess Funds available Year 5 83% 113 112 to students 02/17/2017 Year 6 100% 136 134 – 2017 2016 jazz conservatory california

21 Financial Aid Warning and Ineligibility Withdrawing from the California Students who have been placed on Financial Aid Jazz Conservatory Warning will have one academic semester to A student who wishes to permanently withdraw remediate any deficiencies and may continue from the CJC must file a Withdrawal Form with to receive additional aid during that academic the Registrar. Withdrawal Forms are available from semester. the Registrar in the Main Office. The notice to permanently withdraw will be considered effective During the warning period, the student will be no later than the date it is received by the Registrar. expected to correct the previously identified Permanent withdrawal may be effectuated by a deficiencies and to successfully complete all student’s written notice or by a student’s conduct, courses enrolled in during that period. including, but not necessarily limited to, a student’s lack of attendance. Should the student fail to enroll during that next financial aid academic period, the terms of Financial Aid All financial and academic penalties apply as of Warning will apply to the next future term in the date the notice to permanently withdraw is which the student enrolls. received by the Registrar. Exceptions may be made for family or medical emergencies with Failure to correct the unsatisfactory grades during valid documentation. the warning period may result in financial aid ineligibility (i.e., no additional financial aid). Please note: Students who have permanently withdrawn and subsequently wish to return to A student who has been determined to be the CJC must reapply for admission as a new ineligible for financial aid due to Unsatisfactory student (see under Admission Requirements). Academic Progress may appeal this determination. Return of Title IV Funds Leave of Absence The Financial Aid Office is required by federal According to federal regulations, a student who statute to recalculate Federal Financial Aid has received Federal Financial Aid and has been eligibility for students who withdraw, drop out, granted a leave of absence by the school is NOT are dismissed, or take a leave of absence. The considered withdrawn from school. A school may federal Title IV financial aid for which a student approve a leave of absence to a student provided: is eligible must be recalculated when any of these situations occur prior to the student completing • The student has made a written request to 60% of a payment period or term. be granted a leave of absence, signed and approved by their advisor. Recalculation is based on the percentage of • The leave of absence involves no additional “earned” aid using the following Federal Return charges by the school to the student. of Title IV funds formula: • In any 12 months, the student can have no more than one leave of absence, and the Number of days completed up to the

cjc.edu leave of absence cannot exceed 6 months. withdrawal date ÷ Total days in the term • The leave of absence is authorized under these stipulations: medical reasons, job crisis, Any funds not “earned” according to the above significant family sickness or death and other formula will be returned to the appropriate federal extenuating circumstances. source (loan funds will be returned before grants). In some cases, the amount required to be returned may be more than what the student owes the CJC according to the CJC Refund Policy, in which case the student will need to make arrangements with the CJC to pay any balances. – 2017 2016 jazz conservatory california

22 FERPA Confidentiality • Certain items provided or contributed by The Family Educational Rights and Privacy Act lenders are not considered gifts, such as training (FERPA) of 1974 is a federal law that establishes materials for staff, entrance and exit counseling the rights of students with regard to education services including providing educational records, and ensures students of the right to counseling materials, financial literacy materials, privacy and confidentiality with respect to those or debt management materials to borrowers, records. It applies to colleges and universities that provided that such materials disclose to receive funding from the federal government. borrowers the identification of any lender that Records created and maintained by the financial assisted in preparing or providing such materials. aid office are considered to be education records • No officer, employee or agent of the CJC who and may not be disclosed without the student’s is employed in the financial aid office or who consent. This means that (unless required by law) otherwise has responsibilities with respect to the Financial Aid Office will not discuss specifics education loans, will accept from any lender or financial aid of a student’s financial aid unless the student has affiliate of any lender, any fee, payment, or other provided a written release to discuss and/or financial benefit (including the opportunity to disclose their records with someone other than purchase stock) as compensation for any type themselves (i.e., with a parent, guardian, etc.). of consulting arrangement or other contract to provide services to a lender or on behalf Financial Aid Code of Conduct of a lender relating to education loans. The Higher Education Opportunity Act requires • The CJC will not, for any first-time borrower, institutions of higher education participating in assign, through award packaging or other the administration of educational loan programs methods, the borrower’s loan to a particular to develop and publish a Code of Conduct lender or refuse to certify, or delay certification (34 CFR 601.21). of, any loan based on the borrower’s selection of a particular lender or guaranty agency. • The CJC Financial Code of Conduct • The CJC will not request or accept from The California Jazz Conservatory (CJC) expects any lender, any offer of funds to be used for the highest levels of professionalism and ethical private education loans, including funds for an behavior from all officers, employees, and agents opportunity pool loan, to students in exchange whose responsibilities include student financial for the campus providing concessions or aid matters. These individuals must avoid even promises regarding providing the lender with the appearance or perception of any conflict of a specified number of loans made, insured, interest regarding their student aid responsibilities. or guaranteed, a specified loan volume, or a They must refrain from taking any action they preferred lender arrangement for such loans. believe is contrary to law, regulation, or the best • The CJC does not request or accept from any interest of the students they are serving, and lender any assistance with call center staffing must disclose all conflicts identified in this policy. or financial aid office staffing. • No employee of the CJC who is employed in Any CJC officer, employee, or agent who has the financial aid office or who otherwise has

responsibilities with respect to student educational responsibilities with respect to education loans cjc.edu loans is required to comply with this Code of or other student financial aid and who serves Conduct as outlined below. on an advisory board, commission, or group established by a lender, guarantor, or group • The CJC does not enter into any revenue-sharing of lenders or guarantors, will receive anything arrangement with any lender. of value from the lender, guarantor, or group • No officer, employee or agent of the CJC who of lenders or guarantors for such service. is employed in the financial aid office or who otherwise has responsibilities with respect to Questions? education loans, will solicit or accept any gift or Contact the CJC Financial Aid Office at other thing of value from a lender, guarantor, [email protected] or (510) 845-5228. or servicer of education loans. – 2017 2016 jazz conservatory california

23 POLICIES All financial and academic penalties apply as of the date the notice to permanently withdraw is Student Enrollment Agreement received by the Registrar (see under Refunds Students must sign the CJC Student Enrollment below, and Adding, Dropping and Withdrawing Agreement prior to enrolling in classes each from Courses). Exceptions may be made for family semester. This document serves as a binding or medical emergencies with valid documentation. agreement between the student and the school Please note: Students who have permanently formalizing the details of the student’s financial withdrawn and subsequently wish to return to the policies obligations to the school and the school’s CJC must reapply for admission as a new student obligations to the student. (see under Admission Requirements).

Cancellations, Withdrawals and Refunds Refunds — New students who cancel the Enrollment Agreement within the aforementioned Cancellation — A student has the right to cancel timeframe may obtain a 100 percent refund of the Enrollment Agreement and obtain a refund of charges paid less the Application Fee ($100), charges paid through attendance at the first class Registration Fee ($50) and Enrollment Deposit session, or the seventh day after enrollment, ($100). Returning students who cancel the Enroll- whichever is later. A notice of cancellation shall ment Agreement within the aforementioned be in writing and submitted to the Registrar. The timeframe may obtain a 100 percent refund of notice to cancel the Enrollment Agreement will charges paid less the Registration Fee ($50) and be considered effective no later than the date Enrollment Deposit ($200). it is received by the Registrar. Refunds for students who withdraw during a Withdrawal — A student who wishes to period of attendance are calculated as follows: permanently withdraw from the CJC must file a Students who have completed 60 percent or less Withdrawal Form with the Registrar. Withdrawal of the period of attendance shall receive a refund Forms are available from the Registrar in the Main calculated on a pro rata basis. Refunds shall be Office. The notice to permanently withdraw will be calculated based on the total amount owed by the considered effective no later than the date it is student for the portion of the educational program received by the Registrar. Permanent withdrawal completed as of the date of receipt of the notice may be effectuated by a student’s written notice of cancellation or withdrawal. or by a student’s conduct, including, but not necessarily limited to, a student’s lack of attendance A pro rata refund shall be no less than the total (see under Code of Conduct and Attendance). amount owed by the student for the portion of the educational program provided subtracted from the amount paid by the student, calculated as follows: The amount owed equals the daily charge for the program (total institutional charge, divided by the number of days or hours in the

cjc.edu program), multiplied by the number of days student attended, or was scheduled to attend, prior to withdrawal.

also listen to what I I can leave out. — Miles Davis – 2017 2016 jazz conservatory california

24 Please note: A student who has been enrolled for Attendance more than nine weeks (60 percent of the term) is Students must attend all class meetings, rehearsals not eligible for a refund. and performances on a timely basis, barring illness or family emergency. Chronic tardiness or failure The CJC shall issue or credit refunds within 45 to attend class regularly may adversely affect calendar days of a student’s cancellation, with- student grades; please see individual class syllabi drawal or completion of the program. for attendance policies specific to each course.

Upon a student’s failure to pay a debt owed to the Students missing 15% or more of class time policies CJC, permission to register for the forthcoming per course, per semester, may be dropped semester may be withheld. The CJC also reserves from the course by the instructor with approval the right to withhold a student’s transcript until from the Dean of Instruction (a “mandatory drop”). the debt and all costs associated with collecting In the case of a mandatory drop, academic and it are paid in full. financial penalties will apply (see under Cancella- tions, Withdrawals and Refunds and Adding, Leaves of Absence Dropping and Withdrawing from Courses) as Students who wish to take a temporary leave of of the date of the requested mandatory drop, absence between semesters for professional, which shall be submitted in writing to the Dean medical or personal reasons must submit a request of Instruction for approval. in writing to the Dean of Instruction. Leaves of absence may not exceed two consecutive semesters Grading and Academic Penalties without permission from the Dean of Instruction. Grades are based on a combination of attendance, Leave of Absence Request forms may be obtained progress, written assignments, exams and perfor- from the Registrar in the Main Office and must be mances. Students must maintain a cumulative submitted to the Dean of Instruction prior to the grade point average of 2.0 or higher to remain first day of instruction of the semester for which in good academic standing. The CJC adheres to the leave is requested. the following grading scale:

Students who wish to take a leave of absence A+ 100% – 99% = 4.0 from the CJC during a semester are subject to A 98% – 93% = 4.0 all academic and financial penalties (see under A- 92% – 90% = 3.7 Cancellations, Withdrawals and Refunds and B+ 89% – 87% = 3.3 Adding, Dropping and Withdrawing from Courses) B 86% – 83% = 3.0 as of the date of the requested leave of absence. B- 82% – 80% = 2.7 Exceptions may be made for family or medical C+ 79% – 77% = 2.3 emergencies with valid documentation. C 76% – 73% = 2.0 C- 72% – 70% = 1.7 Students taking a leave of absence for more than D+ 69% – 67% = 1.3 two semesters must reapply for admission as D 66% – 63% = 1.0

a new student (see under Admission D- 62% – 60% = 0.7 cjc.edu Requirements). F 59% and below = 0.0

Please note: To advance, a student must receive a letter grade of no less than C. A student receiving a grade of less than “C” in a required course must retake it at his/her own expense and receive a grade of “C” or higher to graduate. – 2017 2016 jazz conservatory california

25 “W” — Withdrew Weeks 1 and 2: Students may add or drop The grade of “W” is given when a student with- courses without academic penalty. No new draws from a course within weeks 5 and 6. Please courses may be added after week two. note: A “W” is not factored into the calculation of a student’s grade point average, but may be Weeks 3 and 4: Students may drop courses of concern to a potential employer or a graduate without academic penalty. school. Weeks 5 and 6: Students may drop courses

policies “WP” — Withdrew Passing and receive a “W” on their transcript (see under The grade of “WP” is given when a student Grading and Academic Penalties). has been granted approval for withdrawal from a course within weeks 7 – 8, and at the time of Weeks 7 and 8: Students may drop courses with withdrawal, was passing the course. A “WP” is not the consent of the instructor and Dean of factored into the calculation of a student’s grade Instruction and receive a “WP” (Withdrew point average, but may be of concern to a poten- Passing) or “WF” (Withdrew Failing) on their tial employer or a graduate school. transcript (see under Grading and Academic Penalties). “WF” — Withdrew Failing The grade of “WF” is given when a student has After week eight, students will be permitted to been granted approval for withdrawal from a withdraw from courses without academic penalty course within weeks 7– 8, and at the time of for medical or family emergencies only. Students withdrawal, was failing the course. A “WF” is not are required to provide the Registrar with valid factored into the calculation of a student’s grade documentation for all medical or family emergen- point average, but may be of concern to cies. Students withdrawing from courses after a potential employer or a graduate school. week eight for any reason other than a medical or family emergency will receive the grade of “F” in “I” — Incomplete those courses. A student who has satisfactorily completed a substantial portion of the coursework may request Challenge Examinations a temporary grade of Incomplete (“I”) if he/she is Students may take a Challenge Examination to unable to complete a course due to circumstances demonstrate their ability to meet the learning beyond their control. Requests must be made no objectives of the following course requirements: later than the last class meeting and are granted at MUS101, MUS201, HAR200A, TEC100 and the discretion of the instructor. Coursework must TEC400. Successful completion of a Challenge be completed prior to completion of the next Examination allows a student to waive that consecutive semester to convert the grade of “I” requirement within the undergraduate program. to a passing grade of “A”, “B” or “C”. Exceptions The fee for taking a Challenge Examination is $275 may be made with prior approval from the per course. Please contact the Dean of Instruction instructor with approval from the Dean of Instruc- to schedule a Challenge Examination.

cjc.edu tion. Coursework submitted after the deadline without prior approval will automatically result in Credit for Prior Experiential Learning a permanent grade of “IF” and will be averaged Students entering the CJC may bring with them into students” GPA as “F”. a wealth of prior, non-college experiential learning in the field of jazz performance. Recognizing the Adding, Dropping and value of these experiences, the CJC offers stu- Withdrawing from Courses dents the opportunity to earn credit in private Students wishing to add, drop or withdraw from a instruction and/or performance, based on their course must do so in writing, either by e-mailing performance and recording portfolio. the Registrar at [email protected] or by submitting an Add/Drop/Withdraw form available from the Registrar in the Main Office. – 2017 2016 jazz conservatory california

26 ofCredit Hours • CalculationsfortheDetermination the samebasis. of 15weeks.Short-termofferings are calculatedon hours ofworkoutsidetheclassroom foraperiod of classroom instructionplus aminimumoftwo The semester-hour ofcredit represents onehour • DefinitionofSemester-Hour ofCredit Credit HourPolicies prior experientiallearning.’ recorded onastudent’s transcriptas‘credit for approval from theDeanofInstructionandwillbe granted forpriorexperientiallearningmusthave ability gainedthrough theirexperiences.Credit experiences perse,butratheronthestudent’s Credit isnotgrantedbasedonthestudent’s maximum of36credits forpriorexperientiallearning. experiential learning;vocalistsmaybegranteda be grantedamaximumof28credits forprior faculty withrelevant credentials. Instrumentalistsmay determined anddocumentedinwritingbyCJC to matriculatedstudents.Theamountofcredit is Credit forpriorexperientiallearningisgrantedonly application. recitation and period ofcombined for one60-minute of credit isgiven courses, onehour lecture/laboratory of coursematerial.In hands-on application combines lecture with are definedascoursesthat Lecture/laboratory courses Lecture/Laboratory Courses one 60-minuteperiodofrecitation. courses, onehourofcredit is given for a primarilylecture-style format. Inlecture Lecture courseare definedascoursesin Lecture Courses

the formofapublicperformance. semester ofclassroom work plusafinalexamin Vocalists earn3hoursofcredit foreach15-week a totalof3hoursperweek(3supervised). instruction. Vocal performanceclassesmeetfor is givenforone60-minuteperiodofsupervised In vocalperformanceclasses,onehourofcredit a finalexamintheformofpublicperformance. 15-week semesterofclassroom instructionplus large ensemblesearn2hoursofcredit foreach unsupervised). Instrumentalistsinbothsmalland per week(2hourssupervised;1hour hours Instrumental ensemblesmeetforatotalof3 one 30-minuteperiodofunsupervisedinstruction. 60-minute periodofsupervisedinstructionplus ensembles, onehourofcredit isgivenforone * Pleasenote:Ininstrumentalperformance periods ofapplication.* one hourofcredit isgivenfortwo60-minute primarily hands-onformat.Inlaboratorycourses, Laboratory coursesare definedascoursesina Laboratory Courses 27 california jazz conservatory 2016 – 2017 cjc.edu policies • Private Instruction • Workshops Private Instruction is defined as a course in a Workshops are defined as short-term courses or one-on-one format focusing on technique on an programs in a lecture/laboratory format usually instrument or voice. Private Instruction faculty also with a visiting artist and often concluding with a prepare students for their annual juries. Students public performance. In workshops, credit hours for must complete fifteen 1-hour lessons within each workshops are calculated on the same basis as given semester to earn one credit. Note: Private credit hours for lecture/laboratory courses i.e., instruction may not extend beyond the immediate one hour of credit is given for one 60-minute period

policies 15-week semester. of recitation/application.

• Independent Study Transfer Credit Independent Study is defined as time spent Students who wish to transfer to the CJC must independently completing a proposed research provide an official satisfactory academic record project that extends above and beyond the and have earned an overall GPA of 2.0 or higher parameters of the curriculum. Students are required to be admitted to the CJC. to submit a proposal in writing to the Dean of Instruction outlining: the project scope; objectives; The CJC accepts the following courses for transfer: time frame for completion; and their preferred MUS101; MUS201; and the English Communica- faculty advisor. In Independent Study, one hour of tion, Arts and Humanities, and Mathematics and credit is given for a minimum of one 60-minute Quantitative Reasoning General Studies require- period of research per week per 15-week semes- ments earned at any accredited institution. ter. Students are required to present the findings of their research to the public in the form of a The CJC also accepts up to 5 Elective credits paper, lecture/demonstration or concert. The relevant to the program’s purposes earned at any designated faculty advisor provides supervision accredited institution. Please note: students must three times throughout semester. have earned a grade of C or higher in all An evaluation of the completed courses considered for transfer. project is submitted to the Dean of Instruction in writing. Students are graded on a pass/no pass basis. cjc.edu – 2017 2016 jazz conservatory california

28 NOTICE CONCERNING TRANSFERABILITY Student Right to Privacy OF CREDITS AND CREDENTIALS EARNED Matriculated students are afforded the following AT OUR INSTITUTION rights regarding access to and privacy of their personal information and educational records: The transferability of credits you earn at the California Jazz Conservatory is at the complete 1. Students have the right to inspect and review discretion of an institution to which you may seek the education record maintained by the CJC to transfer. Acceptance of the degree you earn in through the Office of the Registrar. Jazz Studies is also at the complete discretion of policies the institution to which you may seek to transfer. 2. Students have the right to request that the If the degree that you earn at this institution is not Registrar correct any records they believe to be accepted at the institution to which you seek to inaccurate or misleading. The Dean of Instruction transfer, you may be required to repeat some or shall serve as mediator should information be all of your coursework at that institution. For this contested. If the Dean of Instruction deems the reason you should make certain that your atten- request to amend a record unfounded, students dance at this institution will meet your educational have the right to place a written statement in goals. This may include contacting an institution their file, documenting their position. to which you may seek to transfer after attending the CJC to determine if your degree will transfer. 3. Students have the right to privacy regarding any personal information including but not limited to Faculty Advisors information provided on their application, dates of After a student is admitted to the California Jazz attendance, grading, scholarship awards and/or Conservatory, he or she is assigned a faculty financial assistance. The CJC must have written advisor to assist with overall academic planning. permission on file from the student to release any Faculty advisors are available to assist CJC information from a student’s record. students Monday – Friday from 10am – 4pm. Please call 510.845.5373 to schedule an Injury Prevention appointment. The California Jazz Conservatory places great importance on the prevention of injury resulting Student Grievances from activities inherent in the life of a musician. Students with complaints regarding their academic These include but are not limited to practicing, progress must first discuss the issue with their performing and/or listening, as related to both instructor. If the issue is not resolved to their vocal and musculoskeletal health. Injury prevention satisfaction, they may file a grievance with the is specifically addressed in the following courses: Dean of Instruction in writing. If the issue is still Audio for Live Performance (required); Yoga not resolved to their satisfaction, they may contact for Musicians (elective); Vocal Technique for the Bureau of Private Post Secondary Education at: Instrumentalists (elective); and the Alexander 888.370.7589 or complete a complaint form which Technique (elective). Injury prevention can be obtained on the Bureau’s website: is also addressed in instrumental

bppe.ca.gov. and vocal private instruction cjc.edu (required).

t’s not so much thinking ahead Ias it is hearing ahead. — Professor John Gove, MM CJC Faculty – 2017 2016 jazz conservatory california

29 the Bachelor of Music Degree Senior Project in Jazz Studies Graduating seniors must complete a Senior Project comprising a performance of original compositions Curriculum Requirements and/or arrangements in a full length concert open to the public.

Instrumentalists — The CJC awards the Bachelor Performance of Music degree in Jazz Studies to instrumental The Jazz Studies undergraduate degree program students who satisfactorily complete 134 – 136 has performance at its center. credits of study divided among: a) core music courses 89 credits (pianists) / 91 credits (non- Instrumentalists are required to take a total of 20 pianists); b) elective courses (15 credits); and c) credits of performance ensembles including jazz (8), general studies courses (30 credits). (See Curricu- big band (2), Afro-Caribbean (2), Brazilian (2) and lum Requirements Template — Instrumentalists). three ensembles of their choice (6). Instrumentalists may also use 4 Elective credits toward performance Vocalists — The CJC awards the Bachelor of Music ensembles. (See Instrumental and Vocal Curricula.) degree in Jazz Studies to vocal students who satisfactorily complete 136 credits of study divided Vocalists are required to take a total of 28 units of among: a) core courses (91 credits); b) elective performance courses in both solo and ensemble courses (15 credits); and c) general studies courses formats. Repertoire covers a wide range of styles (30 credits). (See Curriculum Requirements from the Great American Songbook to contempo- Template — Vocalists). rary jazz, world and popular music. Vocalists may also use 4 Elective credits toward performance Residency Requirements ensembles. (See Instrumental and Vocal Curricula). All instrumentalists and vocalists are required to complete a minimum of 34 credits in residence Public performance is an integral component of during their junior and/or senior year at the CJC. students’ tenure at the CJC. Students perform for the public a minimum of twice per year. bachelor of music degree Juries Performances include concerts at the CJC, Students are required to take four juries over the dates at clubs throughout the Bay Area, and course of their studies at the CJC as they move appearances at specially scheduled events. from one class level — e.g. Freshman or Sophomore — to the next. The purpose of these juries is to Additionally, students may attend over one hundred evaluate students’ progress in private instruction, concerts scheduled at the CJC throughout the year and to confirm their mastery of the material covered free of charge. The CJC Concert Series features a in the CJC’s core Jazz Theory and Improvisation and range of local, national and international artists. Ear Training and Sight Singing curriculum. Visiting artists of note have included the Heath Bros., Theo Bleckmann, Kenny Werner, Taylor Eigsti, The timing of juries correlates with class level. Peter Erskine, Quartet San Francisco, Pete Esco- Students must take a jury when advancing in class

cjc.edu vedo, Paula West, John Zorn, Geoffrey Keezer, level to continue their studies at the CJC. Class Ambrose Akinmusire and many others! level is determined by the total number of credits earned towards their degree: students who have Core Music Courses: Instrumental Track earned between 0 and 34 credits are considered Instrumentalists are required to take 91 (non-pianists) Freshmen, and so on as shown below. / 89 (pianists) credits of the following Core Music Courses: 20 credits of stylistically varying perfor- Credits completed Class Level mance ensembles over eight semesters including: Jazz Repertoire Ensemble (8 credits of PRF100-400 0 – 34 Freshman series); Latin American Ensemble (2 credits of PRF030 35 – 68 Sophomore series); Brazilian Jazz ensemble (2 credits of 040 69 – 102 Junior series); Indian Ensemble (2 credits of 050 series);

– 2017 2016 jazz conservatory california 103 + Senior and ensembles of their choice (6 credits). (Note: 4 additional credits may be taken as Elective courses.) 30 Additional required Core courses include: Ear Please note: the Social Sciences and Physical Training and Sight-Singing (12 credits); Keyboard Sciences General Studies requirements are not Proficiency (2 credits); Jazz Theory and Improvisation transferable from another institution. These (15 credits); Form and Analysis of Jazz Standards (2 requirements must be fulfilled at the CJC. credits); Jazz Composition (3 credits); Jazz Arranging (3 credits); Latin American Roots of Jazz (2 credits); Independent Study Jazz and Intercultural Practice (2 credits); Western Independent Study affords junior- and senior- European Harmonic Practice (6 credits); Western standing students an opportunity to independently European Music History (6 credits); Music Technology undertake special research-oriented projects (5 credits); Business of Music (4 credits); Private extending above and beyond the parameters Instruction (8 credits); and Senior Project (1 credit). of the curriculum.

Core Music Courses: Vocal Track Students may apply up to 4 Elective credits to Vocalists are required to take 91 credits of the Independent Study. Students interested in pursu- following Core Music Courses: 28 credits of stylisti- ing Independent Study are required to submit a cally varying performance ensembles over eight proposal in writing to the Dean of Instruction semesters including: Vocal Performance (24 credits); outlining: the project scope; objectives; time frame and Vocal Jazz Ensemble (4 credits). (Note: 4 for completion; and their preferred faculty advisor. additional performance credits may be taken as Elective courses.) Additional required courses Upon approval, students are required to sign a include: Ear training and Sight-singing (12 credits); contract with their advisor agreeing to complete Keyboard Proficiency (2 credits); Jazz Theory and the project. A letter grade is issued based upon Improvisation (12 credits); Jazz Composition (3 completion of projected objectives within the credits); The Great American Songbook (2 credits); proposed timeframe. Lyric Writing (2 credits); Western European Harmonic Practice (6 credits); Western European Keyboard Proficiency Music History (6 credits); Music Technology (5 All students must demonstrate a basic level credits); Business of Music (4 credits); Private of keyboard proficiency to graduate, either by bachelor of music degree Instruction (8 credits); and Senior Project (1 credit). completing Beginning Piano for Non-Pianists and Jazz Piano for Non-Pianists, or by passing Elective Courses an equivalent keyboard proficiency exam. All students are required to complete 15 credits Keyboard proficiency exams are given on a of degree-relevant Elective courses. (See under to-be-arranged basis throughout the year. Course Descriptions). Workshops and Master Classes General Studies Courses Students have the opportunity to attend a broad A range of General Studies courses is offered at the range of specialized short-term workshops taught CJC. The CJC also accepts select General Studies by local and visiting artists throughout the year. requirements/electives from any accredited Previous workshops by visiting faculty include

institution. Tuition for General Studies courses at Bobby McFerrin, Geoffrey Keezer, Christian cjc.edu other institutions is additional. McBride, Kurt Elling, Jeff “Tain” Watts, Nancy King, Ron Carter, Dave Weckl, Nnenna Freelon, All students are required to take 30 credits of General Matt Wilson, Rudresh Mahanthappa, Dafnis Studies courses. General Studies requirements Prieto, Winard Harper, Taylor Eigsti, Donald include: English Communication (6 credits); Social Harrison, Uri Caine, and others. In addition to Sciences (12 credits); Arts and Humanities (6 credits); attending master classes, students often have the Mathematics and Quantitative Reasoning (3 credits); opportunity to schedule private lessons with visiting and Physical Sciences (3 credits). (See Department artists. The cost of private lessons with visiting of General Studies beginning on page 56.) artists varies and is on a to-be-arranged basis between the student and artist. – 2017 2016 jazz conservatory california

31 CURRICULUM REQUIREMENTs template INSTRUMENTAL TRACK

s e m e s t e r TOTALS PER area Required Courses 1 2 3 4 5 6 7 8

MUSi Ear Training and 3 3 3 3 0 0 0 0 12 Sight Singing

MUSi Keyboard Proficiency 1 1 0 0 0 0 0 0 2

Theii Jazz Theory and Improv 3 3 3 3 3 0 0 0 15

Theii Form and Analysis 0 0 0 0 0 0 2 0 2 of Jazz Standards

Hari Western European 0 0 0 0 3 3 0 0 6 Harmonic Practice

Com Jazz Composition 0 0 0 0 3 0 0 0 3

Com Jazz Arranging 0 0 0 0 0 3 0 0 3 (Small Ensemble)

HISii Latin American 0 0 0 0 0 2 0 0 2 Roots of Jazz

HISii Jazz and Intercultural 0 0 0 0 0 0 2 0 2 Practice

HISii Western European 0 0 0 0 3 3 0 0 6 Music History

Prvii Private Instruction 1 1 1 1 1 1 1 1 8

PrfII Instrumental 2 2 4 4 2 2 2 2 20 Performance Ensemble

Tecii Music Technology 2 0 0 0 0 0 3 0 5

Bus I Business of Music 0 0 0 0 0 0 2 2 4

Senii Senior Project 0 0 0 0 0 0 0 1 1

Electives* 0 1 3 3 2 2 2 2 15 cjc.edu

ENGI English 3 3 0 0 0 0 0 0 6

HUM Humanities 0 0 0 0 0 0 3 3 6

HISii Social Sciences 3 3 3 3 0 0 0 0 12

MATi Mathematics 0 0 0 0 0 0 0 3 3

SCIiii Physical Sciences 0 0 0 0 0 0 0 3 3

Semester Totals 17 17 17 17 17 17 17 17 136 – 2017 2016 jazz conservatory california

* 4 credits may be taken as Independent Study; Four-Year Total = 136 32 4 credits may be taken as Performance (pianists = 134) CURRICULUM REQUIREMENTs template VOCAL TRACK

s e m e s t e r TOTALS PER area Required Courses 1 2 3 4 5 6 7 8

MUSi Ear Training and 3 3 3 3 0 0 0 0 12 Sight Singing

MUSi Keyboard Proficiency 1 1 0 0 0 0 0 0 2

Theii Jazz Theory and Improv 3 3 3 3 0 0 0 0 12

Hari Western European 0 0 0 0 3 3 0 0 6 Harmonic Practice

Com Lyric Writing 0 0 0 2 0 0 0 0 2

Com Jazz Composition 0 0 0 0 3 0 0 0 3

HISii Western European 0 0 0 0 3 3 0 0 6 Music History

HISii Great American Songbook: 0 2 0 0 0 0 0 0 2 The Jazz Standard

Prvii Private Instruction 1 1 1 1 1 1 1 1 8

PrfII Vocal Performance 3 3 3 3 3 3 3 3 24

PrfII Vocal Jazz Ensemble 0 0 0 0 2 2 0 0 4

Tecii Music Technology 0 0 2 0 0 0 3 0 5

Bus I Business of Music 0 0 0 0 0 0 2 2 4

Senii Senior Project 0 0 0 0 0 0 0 1 1

Electives* 0 1 0 3 2 4 2 3 15

ENGI English 3 3 0 0 0 0 0 0 6

HUM Humanities 0 0 0 0 0 0 3 3 6

HISii Social Sciences 3 3 3 3 0 0 0 0 12 cjc.edu MATi Mathematics 0 0 0 0 0 0 3 0 3

SCIiii Physical Sciences 0 0 0 0 0 0 0 3 3

Semester Totals 17 17 18 18 17 16 17 16 136 – 2017 2016 jazz conservatory california

* 4 credits may be taken as Independent Study; Four-Year Total = 136 4 credits may be taken as Performance 33 34 Prerequisites: MUS101orconsentofinstructor. composing andarranging. applied tostandard jazzrepertoire. Usefulfor voicings, voiceleading,soloingandcomping,as An introduction tojazzpianotechniqueaddressing 1 credit, 1hourlecture/lab Jazz PianoforNon-Pianists Keyboard Proficiency — repertoire. Servesasprerequisite forMus201. covering scales,reading and playingbasic Entry-level keyboard technique fornon-pianists 1 credit, 1hourlecture/lab Piano forNon-Pianists Proficiency — Keyboard Prerequisite: MUS200B. chord recognition, andtranscription. sight singing,reading, rhythm,intervaland rhythmic, melodicandharmonicmaterial.Includes develop auralandvisualperception ofadvanced A continuationofMUS200B.Designedtofurther Elective —3credits, 3hourslecture/lab Advanced Musicianship is jazz-based. harmonic componentsofmusic.Coursematerial and visualperception ofrhythmic,melodicand A four-semester coursedesignedtodevelopaural 3 credits, 3hourslecture/lab Ear T courses are upperdivisioncourses. division courses.The300-and400-numbered The 100-and200-numbered coursesare lower Course Numbering Mus201 Mus101 MUS300A and300B and MUS200B Mus100A, MUS100B,200 Musicianship raining andSight-inging DESCRIPTION COURSE course requirements. Instruction, orforcore musicianship orjazztheory substitute forinstrumentalorVocal Private of MUS102.Pleasenote:MUS102isnota history. Studentsmaytakeupto8electivecredits theory, harmony, composition,arrangingand of areas includingbutnot limitedtomusicianship, Individual supplementalinstructioninawiderange Elective —1credit, 1hour lecture/lab Individual T technique required. Prerequisites: MUS101orequivalent.Nopriorstick mallet playing. dampening, asappliedtobothtwo-andfour- placement, andvibraphonepedaling include basictypesandstylesofstrokes, bar of malletpercussion technique.Topics covered A hands-onintroduction tothefundamentals 1 credit, 1hourlecture/lab Introduction toMalletPercussion and voice. and related stylesofmusic.Allinstruments Basic drumsettechniqueasappliedtojazz Elective —2credits, 2hourslecture/lab Drum SetT recommended fordrummers andvocalists. in thecorresponding musicianship class;highly Suggested prerequisites: Concurrent enrollment designed tostrengthen musicianship skills. acourse A supplementtoMUS100A–MUS200B, Elective —1credit, 2hours lab Supplemental Musicianshipkills Mus102 Mus105 Mus104 and MUS203B Mus103A, MUS103B,203 echnique forNon-Drummers utorial 35 california jazz conservatory 2016 – 2017 cjc.edu course descriptions 36 california jazz conservatory 2016 – 2017 cjc.edu course descriptions of Vocal Technique forInstrumentalists. Instrumentalists maytakeupto2credits presence andmicrophone technique. and contemporaryjazz.Coversbasicstage Great AmericanSongbookandstandard interpretation. Repertoire includesthe An introduction to vocal technique and song An introduction tovocaltechniqueandsong Elective —1credit, 1hourlecture/lab V is required. An acousticguitar(playedwithapick) from DjangoReinhardt tothepresent. and technicalaspectsofgypsyjazzguitarstyle Analysis andpracticalapplicationofthestylistic 2 credits, 2hourslecture/lab Gypsy JazzuitarStylesandT bass ensemble. facility through selectrepertoire fordouble A coursedesignedtodeveloptechnical Elective —2credits, 2hours lecture/lab Double BassEnsembleWorkshop changes andutilizingtheclicktrack. set-ups, fills,tempomodulation,negotiatingstick and showarrangements.Coversarticulations, pre-recorded jazz,funk,Latin,pop,rock, fusion large andsmallensemble. Studentsworkwith ing standard leadsheets and drumchartsforboth develop proficiency insight reading andinterpret- A hands-onworkshopfordrummersdesignedto 3 credits, 3hourslecture/lab Chart ReadingWorkshop forDrummers to instrumentalistsandvocalists. skills relevant tothejazzmusicgenre. Open A labfocusingondevelopingsightreading Elective —1credit, 2hourslab Sight ReadingWorkshop Mus110 Mus208 Mus207 Mus205 Mus202 ocal T echnique forInstrumentalists echniques

College Store inBerkeley (aacmstore.org) may bepurchased orrented from theAliAkbar vocalists. Studentsmustownorrent tabla.Tabla Prerequisites: Opentoinstrumentalistsand jazz andotherstylesofmusic. and compositionalconceptsare alsoappliedto vocal percussion syllables. Soloing,arranging, Indian rhythmiccyclesthrough therecitation of and classicalcompositions,mastercomplex North Indianrhythmicconceptsthrough exercises percussion. Studentslearn thefundamentalsof techniques required forthepracticeofIndian posture, toneproduction andhandfinger An introductory coursefocusingonproper Elective —2credits, 2hourslecture/lab Introduction toNorthIndian T past andpresent. Caribbean, SouthAmericanandWorld musicstyles and therhythmsectionasappliedtojazz,Afro- section. Coursecoverstherole oftheindividual on rhythmicconsiderationsrelevant totherhythm pianists, guitarists,bassistsanddrummersfocusing A two-semesterhands-on,interactivecoursefor Elective —2credits, 2hourslecture/lab the RhythmSection Practical Applicationsfor concepts oftala.Prerequisites: Musicianship 100B. of themelodicconceptsraga, andtherhythmic ization withtheIndiansolfège system,exploration this courseincludesparticipatory singing,familiar tion. Opentobothvocalistsandinstrumentalists, practices ofthetraditionalNorthIndianvocaltradi- A generaloverviewofthestyles,formsand Elective —2credits, 2hourslecture/lab Through V North IndianMusicFundamentals and steelstring,pickfingerstyle. Open toallguitarists:acousticandelectric,nylon others) withjazzandtheirapplicationtotheguitar. (samba, bossanova,baião,frevo andchoro among The intersectionofvariousstylesBrazilianmusic Elective —2credits, 2hours lecture/lab elective Brazilian JazzGuitarStylesandT Mus150 MUS209A and209B Mus250 Mus240 oice abla echniques - and thePatMethenyGroup amongothers. Orchestra, DaveHolland,Sting,BradMehldau by groups includingDaveBrubeck,Mahavishnu genres. Studentsstudyapproaches embodied and mixedmetersasappliedtojazzfunk A classfocusingongrooves andsolosoverodd Elective —2credits, 2hourslecture/lab Drum Grooves andSolosin Odd Meters of themoment. greater awareness anxiety andpromotes eases performance stress; andmeditation capacity andreduce techniques increase lung from playing;breathing aches andpainsthatcanresult and posture exercises alleviatethe mind, bodyandspirit.Warm-ups, stretches A courseformusicianstostrengthen Elective —1credit, 1hour lab Yoga forMusicians independence andtheall-importantghostnotes. niques include odd meters,lineardrumming,funk personalstyles.Tech- theirrespective into jazz of technique and syncopation offunkandthe finesse others whoblendedthepowerofrock, the among Smith Steve Stubblefield, AlexAcuna, Bernard Purdie, PeterErskine,BillyCobham,Clyde Tony Williams,SteveGadd,Dave Garibaldi, masters and technicalapproaches utilizedbyfusion sixties tothepresent. Studentslearnthestylistic Fusion drummingstylesandtechniquesfrom the Elective —2credits, 2hourslecture/lab Fusion DrummingStylesandT Mus309 Mus308 MUS190A andmus190b echniques to class. Students are advisedtowear comfortableclothing jazz andrelated repertoire tofacilitateperformance. rhythmic andmelodicunderpinningsofsignificant vocalists gainadeeperunderstandingofthe movement andthevoice.Instrumentalists of selectrepertoire through coordinated physical Interpreting distinctrhythmic andmelodicaspects Elective —2credits, 2hours lecture/lab to JazzRepertoire The ApplicationofEurhythmics ease ofmovementinpracticeandperformance. mentalists andvocaliststodeveloppoise music. TheAlexanderTechnique enablesinstru- freedom ofexpression andthejoyofplaying interfere withtechnicalfacility, soundquality, tension andunconscioushabitsofmisusecan pain and/orstagefright.Inappropriate muscular to prevent andresolve playing-related injuries, Technique, amethodusedbymusiciansworldwide A hands-onintroduction totheAlexander Elective —2credits, 2hourslecture/lab Alexander T MUS204 MUS191 echnique 37 california jazz conservatory 2016 – 2017 cjc.edu course descriptions a synergistic comprehensive jazz education and performance program

leading Jazz-Relevant 100% jazz faculty 100% music

Jazz-Relevant performance-centered 100% Education 100% program

40 california jazz conservatory 2016 – 2017 cjc.edu course descriptions in thedevelopmentofindividualstyle. class. Thiscourselaysimportantgroundwork critical and appliedtorelevant exercises andrepertoire in illustrated withselectrecordings ofleadingjazzartists transcription andanalysis.Theoretical conceptsare chord/scale theory, soloing,reharmonization, and theory andimprovisation, from thefundamentalsto beyond. Studentsgainasolidunderstandingofjazz the contemporaryartistryofHerbieHancock,and twentieth centuryinnovationsofLouisArmstrong, to artistic practiceofjazzmasters,from theearly improvisation techniquesandstylesbasedonthe A four-semester coursecoveringjazztheoryand 3 credits, 3hourslecture/lab Jazz TheoryandImprovisation The100A, THE100B,200and200B THEORY greatest jazzartistsofalltime. transcription andanalysisofthe and improvisation, culminatingin jazz eartrainingandtheory two, butfoursemestersofhands-on out there. Acore curriculumofnot — LisaFeldman,CJCStudent T — LisaFeldman,CJCStudent greatest jazzartistsofalltime. transcription andanalysisofthe and improvisation, culminatingin jazz eartrainingandtheory two, butfoursemestersofhands-onjazzear out there. Acore curriculumofnottwo, T the mostin-depthstudyofjazz he CJprovides someof most in-depthstudyofjazz he CJprovides someofthemost

Prerequisites: Mus100A andThe100A sition andimprovisation. Allinstrumentsandvoice. rhythm groupings andtheirapplicationtocompo- Prerequisite: THE200Borconsentofinstructor. and outofthechanges.’ and release, mostcommonly knownas‘playingin the goldstandard forcontrolled harmonictension control ofconsonanceanddissonancethatremains decade movedittoanewlevelofsophisticated Brecker, ChickCorea andotherswholaterthat the workofDavidLiebman,alongwithMichael chromaticism inthe1960s,thiscourseaddresses developing anadvancedjazzlanguageof Miles Davisquintetwhoindependentlybegan Beginning withJohnColtraneandthesecond book AChromatic Approach toJazzHarmony. Liebman innovatedandexpandedinhisseminal to theharmonicandmelodicapproaches David A requirement forinstrumentalists,anintroduction 3 credits, 3hourslecture/lab Advanced JazzTheoryandImprovisation of fo- A 2 A continuationofTHE300AJazzTheoryand Elective —3credits, 3hours lecture/lab Analysis oftheJazzMasters Advanced T The300A The300B The nature andhistoryofpolyrhythmsodd Improvisation, focusingon transcription and analysisofmore challenging works Elective —2credits, 2hourslecture/lab by jazzmasters. Rhythm Groupings Polyrhythms andOdd The301 The302 Form andAnalysisofJazz Standards ranscription and credits, 2hourslecture/lab concurrent enrollment. course inanensembleformat Prerequisite: THE200Bor the professional musician. jazz standards essentialto cusing onformandanalysis Prerequisites: THE200Borconcurrent enrollment. in thedevelopmentofindividualstyle. in class.Thiscourselaysgroundwork critical and appliedtorelevant exercises andrepertoire with selectrecordings ofleadingLatinjazzartists and analysis.Theoretical conceptsare illustrated theory, soloing,reharmonization, andtranscription including thefunctionofclave—tochord/scale improvisation, from therhythmicfundamentals— gain anunderstandingofLatinjazztheoryand artistry ofEddiePalmieriandbeyond.Students tions ofArsenioRodrigueztothecontemporary masters, from theearlytwentieth centuryinnova- styles basedontheartisticpracticeofLatinjazz Latin jazztheoryandimprovisation techniquesand Elective —3credits, 3hours lecture/lab Latin JazzTheoryandImprovisation Prerequisites: MUS201andTHE100B. employed inmodernjazzimprovisation. application ofthefundamentaldevices bebop andpost-bopmastersaswellin-class and performanceofkeytranscriptions bebop andpost-boptraditions.Includesanalysis single linesoloingtechniquesidiomatictothe to participateasvocalists)focusingondeveloping A courseforvocalists(orinstrumentalistswhowish Elective —3credits, 3hourslecture/lab Single LineoloingforV Prerequisites: MUS201andTHE100B. modern jazzimprovisation. tion ofthefundamentaldevicesemployedin and post-bopmastersaswellin-classapplica- and performanceofkeytranscriptionsbebop bebop andpost-boptraditions.Includesanalysis ing singlelinesoloingtechniquesidiomatictothe A courseforinstrumentalistsfocusingondevelop- Elective —3credits, 3hourslecture/lab Single LineoloingforInstrumentalists The330 THE215 THE205 ocalists students’ compositionalandimprovisational skills. to anyinstrumentandstyleofmusic,enriching cultural applicationsofIndianrhythmicconcepts Emphasis isplacedonpointingoutthecross- well asitsinfluenceonJazzoverthelast50years. the historyandtheoryofNorthIndianrhythmas such astablaandpakhawaj.Thisclassdelvesinto of classicalNorthIndianpercussion instruments rhythmic compositionsdrawnfrom therepertoire a musicalidea).StudentslearntraditionalIndian (thrice-repeated cadentialphrasesusedtoend cycles), layakari(rhythmicmodulation),andtihai to Indianrhythmicidiomssuchastala(rhythmic syllables knownasbols,studentsare introduced music. Through themediumofvocalpercussion concepts from theNorthIndiansystemofclassical An in-depthexplorationoftraditionalrhythmic Elective —3credits, 3hourslecture/lab Concepts fortheJazzMusician T students’ compositionalandimprovisational skills. any instrumentandstyleofmusic,enriching cross-cultural applicationsofIndianrhythmsto morsing. Emphasisisplacedonpointingoutthe as tabla,mridangam,kanjira,ghatam,thavil,and of classicalIndianpercussion instrumentssuch rhythmic compositionsdrawnfrom therepertoire a musicalidea).StudentslearntraditionalIndian (thrice-repeated cadential phrasesusedtoend beat), layakari(rhythmicmodulation),andmora (rhythmic cycles),nadai(oddsubdivisionsofthe duced toIndianrhythmicidiomssuchastala syllables knownassolkattu,studentsare intro - music. Through themedium ofvocalpercussion concepts from theSouth Indian systemofclassical An in-depthexplorationoftraditionalrhythmic Elective —3credits, 3hours lecture/lab Concepts fortheJazzMusician T The250 The251 raditional NorthIndianRhythmic raditional SouthIndianRhythmic 41 california jazz conservatory 2016 – 2017 cjc.edu course descriptions 42 california jazz conservatory 2016 – 2017 cjc.edu course descriptions to analysis. minor, chord inversions,andanintroduction chord progressions inthediatonicmajorand leading, cadences,theoryofchord progression, figured bass,harmonizationofmelodies,voice preparatory materialforthestudyofharmony, Classical periods,thisfirst-semestercoursecovers Focusing oncompositionsfrom theBaroque and 3 credits, 3hourslecture Practice from 1600to1820 Western European Harmonic in PRF390alsorecommended. Prerequisites: HAR390B.Concurrent enrollment a professional ensemble. The finalproject isashortcomposition read by integrating thesetoolsintostudents’ownwork. the variouspracticesstudied.Emphasison focuses onshortcompositionexercises utilizing behind variouspost-tonalapproaches. Coursework 20th centurytotoday. Analysisofthetheories of westernartmusicfrom thebeginningof A courseexaminingworksbythemajorcomposers Elective —3credits, 3hours lecture 20th CenturyHarmony modulation, andtwelve-tonetechniques. augmented 6thchords, diatonic andchromatic related tosequences,mixture, Neapolitanchords, coversformalanalysis,advancedtechniques course and ContemporaryPeriods,thissecond-semester Focusing oncompositionalstylesoftheRomantic 3 credits, 3hourslecture Practice from 1820tothePresent Western European Harmonic Har390A Har390C Har390B HARMONY — TheloniousMonk T universe issilence. he loudestnoiseinthe applied tostudents’work. relevant pastmastersare alsoexaminedand Mozart, Beethoven,Brahms,Debussyandother and rhythmictechniquesemployedinthemusicof Pastorius, Towner andmore. Melodic,harmonic Henderson, Shorter, Brecker, Liebman,Grolnick, Parker, Silver, Mingus,Monk,Coltrane,Hancock, new work.ComposersstudiedincludeEllington, composers asapointofdeparture increating compositional stylesandtechniquesofthe master A concentratedwritingcourseutilizingthe 3 credits, 3hourslecture/lab Jazz Composition instrumentalists. own compositions.Opentovocalistsand to selectinstrumentalworksaswelltheir Students buildarepertoire oforiginallyricsset popular songwritersJoniMitchellandSting. Annie Ross,KurtEllingandKingPleasure; and Howard Dietz;vocalesewordsmiths JonHendricks, Songbook legendsLorenz Hart,ColePorterand utilized bylyricistsincludingGreat American A coursefocusingonthevarioustechniques 2 credits, 2hourslecture/lab L Prerequisite: COM300orconsentofinstructor. practical applicationinperformance. advanced compositiontechniquesandtheir A continuationofCOM300.seminaraddressing Elective —3credits, 3hours lecture/lab Jazz CompositionSeminar Com300 Com210 COM400 yric Writing COMPOSITION and fuguesofJ.S.Bach. contrapuntal workincludingthe canons,inventions minor modes.Analysisofarange ofimportant combined speciesinthree voices,in major and two- andthree-part speciescounterpoint, and leading. Includesthewritingofcantusfirmus, vocal music,providing asolidfoundationforvoice teenth- andeighteenth-centuryinstrumental and Contrapuntal techniquesandstylesofseven- Elective —2credits, 2hourslecture/lab Counterpoint consent ofinstructor. for fullbigband.Prerequisite: Sibelius. Thefinalproject isanarrangement completed onaprogram suchasFinaleor arranging projects. Allassignments mustbe by RayburnWright. Students are assignedthree tration techniques.Required text:InsidetheScore, five hornsandlarge ensemble texture andorches- development ofform,chord voicingsformore than also explore different techniquesforlarge scale from DukeEllingtontoMaria Schneider, students voices. Through analysisof worksbythemasters how toharmonizeamovingmelodiclinewithfive out ascore, howtovoice chorale-stylechords, and instruments, rulesfornotatingrhythm,howtolay Students review rangesand characteristicsof arranging techniquesforthelarge ensemble. A one-semesterintroductory courseonbasicjazz Elective —3credits, 3hours lecture/lab Jazz Arranging—LargeEnsemble that isrecorded. an arrangementforfivehornsandrhythmsection to fivearrangingprojects. Thefinal project is addressing form. Students are assignedthree with twotofivevoices,andvariouswaysof chords, howtoharmonizeamovingmelodicline set amelodytochords, howtovoicechorale-style to compose melodiesandchord progressions, how score, howtowritefortherhythmsection, ments, rulesfornotatingrhythm,howtolayouta Students learnrangesandcharacteristicsofinstru- techniquesforthesmallensemble. arranging A one-semesterintroductory courseonbasicjazz 3 credits, 3hourslecture/lab Jazz Arranging—SmallEnsemble Com390 Com301B Com301A or Com301A or

at theCJC. institution. Thisrequirement mustbefulfilled requirement isnottransferablefrom another requirement. HIS100A – 200BfulfillstheCJCSocialSciences the idealsoffreedom anddemocracy. celebrated asaculturalartformembodying urban dancemusicthathasbecomeglobally solid understandingofjazz,atwentieth-century listening, reading anddiscussion,studentsgaina performed internationallytoday. Through extensive Europe andtheNewWorld, tothemusicthat is in themusicalcultures ofWest Africa,Western cultural developmentofjazz,from itsantecedents A four-semester courseexaminingthemusicaland Jazz History invention oftheradioandsoundrecordings. the Great BlackMigration,World War I,andthe post-bellum segregation, theindustrialboomand context ofAmericansocialforces including development ofjazzisstudiedwithinthehistorical African Americansacred and secularmusic.The its originsinspirituals,blues,ragtimeandother conventions thatformthefoundationofjazz,and conceptual approaches, practices, andcultural by 1917.ThecoursefocusesontheWest African Orleans thatbecameknowntotheworldasjazz of jazzpre-1900, andonthe earlymusicofNew European musicandculture onthedevelopment African, Caribbean,SouthAmerican,Asianand This courseexaminestheinfluencesof West 3 credits, 3hourslecture and EarlyJazz,Pre-1900 – 1919 Jazz History — TheRootsofJazz His100A history Please note:theSocialSciences

43 california jazz conservatory 2016 – 2017 cjc.edu course descriptions 44 44 california jazz conservatory 2016 – 2017 cjc.edu course descriptions touchstones. Prerequisite: HIS100A. book, amongothersocioeconomicandcultural musical theaterandtheGreat AmericanSong- the riseofsoundmotionpictures, American the Great Depression, ballrooms andbigbands, contexts ofthepost-World War Ieconomicboom, Fitzgerald andmanyothersisstudiedwithinthe Armstrong, DukeEllington,CountBasie,Ella bands andthejitterbug.ThemusicofLouis the Prohibition erathrough thereign oftheswing A surveyofearlyjazzstylesfrom theJazzAgeof 3 credits, 3hourslecture in Americafrom 1920–1939 Jazz History—StyleandCulture HIS100B. Prerequisite: of jazz. evolution upon the historical epochs Movement andother burgeoning CivilRights of television,advertising,the and theColdWar, thehegemony impact ofWorld War II,theAtomicAge draw connec­ rhythmic creativity, andfolkinfluences.Students on instrumentalgrouping, structural,harmonicand many oftheircollaboratorsare examined,focusing Silver’s JazzMessengers,OrnetteColemanand Modern JazzQuartet,ArtBlakey’s andHorace Thelonious Monk,MilesDavis,MaxRoach,the jazz, andotherstylescreated byDizzyGillespie, including bebop,hard bop, funk,Latinjazz,cool through thebeginningsof free jazz.Styles focus onthemusicalinnovationsofmodernjazz This courseexplores jazz as anartform,witha 3 credits, 3hourslecture in Americafrom 1940 – 1959 Jazz History — StyleandCulture His100B His200A tions betweenthemid-century History ofFunk Prerequisite: HIS200A. styles, forms andinstrumentsintothejazzworld. to infuseadiverserangeofcompositional continues from Africa,Asia,andtheNewWorld musicians rary from traditionalandcontempo- influences global of return of jazz to its danceinflux steady The origins. the and al, et Hancock, Weather Report,ChickCorea, fusion musicofMilesDavisandhiscollaborators,Herbie ideas ofWyntonMarsalisjuxtaposedwiththeelectronic New York LoftScene,jazzinEurope, themusicand evolution offree jazzwiththeAACM,1970s subgenres ofpost-Coltranejazz,particularlythe This coursesurveystherangeofidiomsand 3 credits, 3hourslecture in Americafrom 1960 – Present Jazz History — StyleandCulture Report, andHerbieHancock’s Headhuntersaswell adelic, Earth,WindandFire, MilesDavis,Weather the FamilyStone,OhioPlayers,ParliamentFunk- covered includeRayCharles, JamesBrown, Slyand emergence ofalternative cultures. Artistsandbands Black Power, Women’s Rights,GayRightsandthe and 70s,includingthestrugglesforCivilRights, also reflected theradical socialchangeofthe60s hip hop,Afro-Caribbean and SouthAmerican,funk wide rangeofmusicsincludinggospel,rock, jazz, genrea thatoriginatedinthe 1960s.Influencing A coursetracingthehistoryoffunk,R&B-based Elective —3credits, 2hours lecture His261 His200B as BayArea-based bands Tower ofPower, Cold Blood, Azteca, Sons of Cold Blood,Azteca,Sonsof Champlin, Pointer Sisters, Champlin, PointerSisters, Larry Graham and GCS, Larry GrahamandGCS, and George Duke. music throughout theworld. friendly competitionthatcontinue toinfluence improvisation, syncopation,callandresponse and parades, brassbandsandothermusicemploying modern NewOrleans-stylefuneralmarches, street well asin-classperformanceoftraditionaland tinge. Includesanalysisofimportantrecordings as various cultures withgospel,bluesandtheLatin drumming traditionsthatfusedelementsfrom cultural resilience through dance,singingand Explores theAfricanAmericanexperienceof the wellspringofAmericanartform,jazz. for musicinnovationandculturalexchangethatis international portofNewOrleans,themeltingpot A coursetracingthemusicalinfluenceof Elective —2credits, 2hours lecture New Orleans:TheBirthplaceofJazz application tojazz. world andtheircross-cultural andintercultural A review ofselectedmusical traditionsofthe 2 credits, 2hourslecture Jazz andIntercultural Practice for instrumentalists. for vocalistsandisahighlyrecommended elective others. Note:Thiscourseservesasarequirement Ellington, Richard Rogers andHarold Arlenamong Irving Berlin,George Gershwin, ColePorter, Duke composers ofthisperiod,includingJerome Kern, the livesandperformworkofcentral country’s promise forthefuture. Studentsexamine morale, easedsocialbarriersandreflected our This singularbodyofworkmanifestedhope,built nomic growth thattookplacein1950sAmerica. Depression, WWIIandtheunprecedented eco- during thedecadeofJazzAge,TheGreat toire oftheGreat AmericanSongbookarose Now thecornerstoneofmodernjazz,reper –1950. musical theatre andlaterfilmbetween1920 American popularsongswrittenoriginallyfor American Songbook—thecanoncomprising An overviewoftheevolutionTheGreat 2 credits, 2hourslecture/lab The JazzStandard The Great AmericanSongbook: His301 His300 His110 -

THE200B orpermissionofinstructor. jazz repertoire. Prerequisites: MUS200Band of thehard bopstyletoin-class performanceof and more. Studentsapply conceptscharacteristic Messengers ‘familytree,’ MilesDavis’smallgroups Note Records artistssuch asArtBlakey’s Jazz inherent injazz.Recordings includeiconicBlue focusing inparticularonthecollaborativespirit and discussselectedworksofhard bopmasters, and 60shard bopera,students listento,explore Drawing onquintessentialrecordings ofthe50s Elective —3hours,credits listening The LanguageofHard Bop jazz to“timenochanges,”fusion. bebop tocool,hard boptomodal,orchestral traces thedevelopmentofmodernjazzfrom and thoseofhistoweringsidemen,thiscourse movement andmusician.Through hisrecordings Miles directly influencedeveryimportantjazz Parker’s group in1945untilhisdeath1991, that spannedsixdecades.BeginningwithCharlie throughout arecording andperformingcareer facet ofAmerica’s mostimportantartform and innovatorMilesDavisshapedvirtuallyevery figures inmodernjazz,trumpetplayer, bandleader Arguably oneofthemostimportantandinfluential Elective —3credits, 3hourslecture/lab The MilesDavisLegacy Prerequisite: HIS100A orconsentofinstructor the NationalMuseumofAmericanHistory. Smithsonian JazzOralHistoryProgram at with andcontributetothecollectionof with theSmithsonianInstitution,studentswork techniques andtheirapplication.Inpartnership interviews; andinterview, audiovisualandarchival research, preparation, transcriptionandanalysisof phies; oralhistorymethodologiesincluding review focusingonbiographiesandautobiogra- Students learnresearch techniquesinliterature An introduction tojazzoral historymethodology. Elective —3credits, 3hours lecture/lab Jazz OralHistoryMethodology His308 His302 His309 /lab 45 california jazz conservatory 2016 – 2017 cjc.edu course descriptions 46 46 california jazz conservatory 2016 – 2017 cjc.edu course descriptions write reviews oftwolivejazz concerts. the course.Studentsare asked toattendand of therenowned artistsare shownthroughout created andhasevolved. Filmshortsofsome a greater understandingof howthismusicwas of thesocialclimateeachperiod,fostering supporting them.Lectures includeanoverview familiar withtheimportantinstrumentalists nuances uniquetoeachartistaswellbecoming and itsfuture. Studentslearntoidentifystylistic Vaughan andEllaFitzgerald—ontojazztoday to the“holytrinity”—BillieHoliday, Sarah work songs,fieldhollers,spirituals,ragandblues, tions, beginningwiththeprecursors ofjazzfrom gamut ofjazzsingersandtheirgreatest contribu- the voice.Studentslistentoandlearnabouta singers from theperspectiveoffirstinstrument, A historyclassfocusingonthelegendaryjazz Elective —2credits, 2hourslecture The JazzSingers Prerequisites: THE100Aorequivalent. have madetothebroader jazzartform. tant stylisticcontributionsbowedstringplayers class format,studentsgaininsightintotheimpor to thepresent. Inacombined lecture andmaster players injazzfrom thelate nineteenthcentury An in-depthstudyofinfluentialbowedstring Elective —2credits, 2hours lecture Bowed StringPlayersinJazz His310 His320 builds ontheenvironment thatthismusicnaturally brings. The levelofcamaraderie andpositiveencouragementjust behind themusicthey are teaching:itisacollective effort. This schoolisshowingitsstudentsthereal meaning Jazz Conservatory.in anestablishmentliketheCalifornia me. Itisamusicthatpierces theheartandsoulthrives W — Anastasia Stout, CJCstudent I alwaysanswerthemwiththetruth:jazz chose hen peopleaskmewhyIdecidedtochoose jazz, - derived bossanovaandbeyond. mid twentiethcenturyemergence ofthesamba- and European-influenced folkloricoriginstothe jazz —from theirmidnineteenth centuryAfrican A surveycoursetracingtheBrazilianroots of 2 credits, 2hourslecture The BrazilianRootsofJazz jazz from bothstylisticandhistoricalperspectives. and discussionbroadens anunderstandingof present. Musicisanalyzedthrough lecture, listening Students listentorare recordings from 1900tothe tial musicofCuba,NewYork andPuertoRico. the historicaldevelopmentofespeciallyinfluen- branches ofthesametree. Emphasisisplacedon brought Afro-Latino musicandjazztogether as the pan-Americansociopoliticalcircumstances that Afro-Latino roots ofjazz.Thiscourseexamines A surveyoftheevolutionandrelevance ofthe 2 hourslecture 2 credits (mayalsobetakenasanElective), Latin AmericanRootsofJazz technology intherecording studio. fame, andtheircreative use ofnewly-available impeccable songwriting,theirrapidriseto of the1960s.Attentionisgiventogroup’s of thevibrantsocial,cultural,andpoliticalclimate Beatles, framingthegroup’s career inthecontext incomparable Englishrock andpopgroup The An examinationofthelifeandwork Elective —3credits, 3hours lecture The Beatles His340 His330 His370

earn moreLearn aboutthisfestivalatstellarjam.com,tel:81-3-6455-1937, [email protected] The CJCishonoredJazzOrchestra topartnerwithStellarJamInternational Festival! S tellar J am

47 california jazz conservatory 2016 – 2017 cjc.edu course descriptions 48 california jazz conservatory 2016 – 2017 cjc.edu course descriptions acoustic sounds. bluegrass), amongothercontemporary singer-songwriter, andnewgrass(progressive traditional country, bluesandbluegrass,to cance ofAmericanacousticmusicstyles,from A surveycourseonthehistoryandculturalsignifi- Elective —2credits, 2hourslecture from 1900 – Present History ofAmericanRootsMusic each period. economic andpoliticalconditionsof periods andbeyond.Emphasisonthesocio- of theClassical,RomanticandTwentieth Century ing onthemusicalstylesofmastercomposers through thetwentiethcentury andbeyondfocus- European artmusicfrom themiddle18thcentury This coursetracesthedevelopmentofWestern 3 credits, 3hourslecture from 1750tothePresent History ofWestern European Music rise tothem. socio-economic andpoliticalconditionsthatgave Renaissance andBaroque periods.Emphasisonthe styles ofthemastercomposersMedieval, the middle18thcentury, focusingonthemusical European artmusicfrom the10thcenturythrough This coursetracesthedevelopmentofWestern 3 credits, 3hourslecture from Antiquityto1750 History ofWestern European Music His385 His390B His390A vocalists, onehourperweekwithselectfaculty. Eight semestersofprivateinstructionfor 1 credit, 1hourlecture V Western European classicalrepertoire. include uptotwosemestersofinstructionin faculty. ThePrivateInstructionrequirement may instrumentalists, onehourperweekwithselect Eight semestersofprivateinstructionfor 1 credit, 1hourlecture Instrumental PrivateInstruction 310A, 310B,410and410B Prv110A, 110B,210210B, 300A, 300B,400and400B Prv100A, 100B,200200B, ocal PrivateInstruction private instruction repertoire arrangedfor 4–8guitarists. Jazz, LatinAmericanandWestern European 2 credits, 3hourslab Guitar Ensemble guitar, piano,bass,drums,andsaxophone. The repertoire ofWes Montgomery. Opento 2 credits, 3hourslab Wes MontgomeryEnsemble accordion, sologuitar, rhythmguitarandbass. among others.Opentovoice,violin,viola,cello, including DjangoReinhardt andStephaneGrappelli Repertoire bycomposers inthegypsyjazztradition 3 hourslab credits, 2 Gypsy JazzEnsemble Jaco PastoriusandJean-LucPontyamongothers. tradition includingChickCorea, JohnMcLaughlin, Repertoire bycomposers inthejazzfusion 3 hourslab credits, 2 Jazz FusionEnsemble The repertoire ofMilesDavisandWayne Shorter. 2 credits, 3hourslab Miles /Wayne Ensemble The repertoire ofHoraceSilver. 2 credits, 3hourslab Horace SilverEnsemble Standard andcontemporaryjazzrepertoire. 2 credits, 3hourslab Jazz Repertoire Ensemble PRF 000Series—JazzEnsembles Prf206 Prf205 Prf204 Prf203 Prf201 Prf101 Prf100 –400 pERFORMANCE ENSEMBLES repertoire byear. Dirty DozenBrassBand.Emphasisonlearning Rebirth BrassBand,Trombone Shortyandthe coming outofthe“Crescent City”including Band alongwithcurrent funk andbrassbands Armstrong andthePreservation HallJazz jazz traditionincludingJoe“King”Oliver, Louis Repertoire ofcomposers in theearlyNewOrleans 2 credits, 3hours lab 1920s tothePresent New OrleansEnsemble— also oddmeterarrangementsofjazzstandards. Esbjorn SvenssonandJeff Beckamongothers; Milton Nascimento,NguyenLe,AirtoMoreira, including JohnMcLaughlin,George Duke, Repertoire inoddmetersbycomposers 2 credits, 3hours lab Odd MeterEnsemble the 1940stopresent. Repertoire ofbluesandR&Bcomposersfrom 2 credits, 3hourslab Blues andR&BEnsemble ensemble rateappliestothis course(seepage10). one onbass;anddrums. Note:Thetrio to twostudentsandonefaculty: oneonpiano; Standard andcontemporaryjazzrepertoire. Open 1 credit, 1hourlab Jazz PianoT bigbandliterature. contemporary and Standard 2 credits, 3hourslab CJ JazzOrchestra The repertoire ofArtBlakey. 2 credits, 3hourslab Art BlakeyEnsemble The repertoire ofCharlesMingus. 2 credits, 3hourslab Charles MingusEnsemble Prf302 Prf301 Prf207 Prf306A Prf305 Prf304 Prf303 rio

49 california jazz conservatory 2016 – 2017 cjc.edu course descriptions 50 50 california jazz conservatory 2016 – 2017 cjc.edu course descriptions ensemble rateappliestothiscourse(seepage10). one onbass;anddrums.Note:Thetrio to twostudentsandonefaculty:onorgan; Standard andcontemporaryjazzrepertoire. Open 1 credit, 1hourlab Jazz OrganT ensemble rateappliestothiscourse(seepage10). one onbass;anddrums.Note:Thetrio to twostudentsandonefaculty:onguitar; Standard andcontemporaryjazzrepertoire. Open 1 credit, 1hourlab Jazz GuitarT The repertoire ofPat Metheny. credits,32 hours lab Pat MethenyEnsemble read rhythmicnotation. hand drumandsticktechniquetheabilityto students’ originalwork.Prerequisite: Intermediate Repertoire bynotedcomposers;alsofeatures credits,32 hours lab Percussion Ensemble in thejazztradition. Repertoire ofspontaneously composedmusic credits,32 hours lab Improvised MusicEnsemble The repertoire ofChickCorea. credits,32 hours lab Chick orea Ensemble ensemble rateappliestothiscourse(seepage10). one onbass;anddrums.Note:Thetrio to twostudentsandonefaculty:onhorn; Standard andcontemporary jazzrepertoire. Open 1 credit, 1hourlab T Jazz Horn Prf306C Prf306B Prf403 Prf309 Prf308 Prf307 Prf306D rio rio rio violists, cellistsanddoublebassists. Evan Priceamongothers.Opentoviolinists, Darol Anger, Jean-LucPonty, EdgarMeyerand tradition includingtheTurtle IslandQuartet, Repertoire ofcomposers in thejazzstrings credits,32 hours lab Jazz StringsChamberEnsemble PRF 020Series—tringsEnsembles Joe HendersonandWayne Shorter, amongothers. tradition includingJohnColtrane,MilesDavis, The repertoire ofcomposersinthepost-bop 2 credits, 3hourslab Post-Bop Ensemble by ensemblestudents. Repertoire composedandperformedexclusively 2 credits, 3hourslab Original CompositionsEnsemble rate appliestothiscourse(seepage10). cello ordoublebass.Note:Thetrioensemble to twostudentsandonefacultyonviolin,viola, Standard andcontemporaryjazzrepertoire. Open credit,11 hour lab Jazz StringsT to 2violinists,1violistandcellist. Edgar MeyerandEvanPriceamongothers.Open Turtle Island Quartet,Darol Ander, Jean-LucPonty, tradition includingQuartetSanFrancisco,the Repertoire ofcomposers in thejazzstringquartet credits,32 hours lab Jazz StringQuartet Prf 120–420 Prf409 Prf408 Prf326 Prf321 rio Diverse instrumentationwelcome! Edu LoboandSteveErquiaga amongothers. Gismonti, JoseMariadeAbreu, Toninho Horta, tradition includingAstorPiazzola,Egberto Repertoire ofcomposersintheLatinAmerican credits,32 hours lab T Curet Alonsoamongothers. Aguabella, EddiePalmieri,MachitoandTite tradition includingTitoPuente,Francisco The repertoire ofcomposersintheAfro-Cuban 3 hourslab credits, 2 Afro-Cuban Orchestra and theabilitytoread rhythmic notation. drum andsticktechniquecoordination, repertoire. Prerequisites: Intermediatehand popular andcontemporaryLatinAmerican The performanceandhistoryoftraditional, 3 hourslab credits, 2 Afro-Latin Percussion Ensemble The repertoire ofEddiePalmieri. 3 hourslab credits, 2 Eddie Palmierinsemble Romero andSimónDíazamong others. jazz traditionincludingAquilesBaez,Aldemaro Repertoire ofcomposersintheAfro-Venezuelan credits,32 hours lab Afro-V Santos amongothers. Hernandez, Pedro Flores, TitoPuenteandJohn including ChuchoValdés, Rafael,RenéandOscar Repertoire ofcomposersintheLatinjazztradition credits,32 hours lab Latin JazzEnsemble Latin AmericanEnsembles PRF 030Series— Prf338 Prf336 Prf335 Prf232 Prf231 Prf230 angos, Choros andFrevos enezuelan JazzEnsemble

Dori CaymmiandMarcos Silvaamongothers. Toninho Horta,ChicoPinheiro, HermetoPascual, tradition includingAntônioCarlosJobim, Repertoire ofcomposersintheBrazilianjazz credits,32 hours lab Brazilian JazzRepertoire Ensemble PRF 040Series—BrazilianEnsembles and clarinet. percussion, electricguitar, violin(2),cello,flute, harmonica ormelodica,piano,doublebass,drums, following instrumentation:bandoneon,accordion, The repertoire ofAstorPiazzolla.Opentothe credits,32 hours lab Astor PiazzollaEnsemble 4–8guitarists. Brazilian jazzrepertoire arrangedfor credits,32 hours lab Brazilian JazzGuitarEnsemble northeastern stateofPernambuco. Rio deJaneiro; Salvador, Bahia;andthe practice from three majorculturalareas ofBrazil: across Brazilfocusingon the historyandmusical Applied rhythmsandpercussion techniquesfrom credits,33 hours lab Brazilian RhythmEnsemble Nazareth andWaldir Azevedoamongothers. including Pixinguinha,JacobdoBandolim,Ernesto Repertoire bycomposers inthechoro tradition credits,32 hours lab Choro Ensemble Prf240 Prf339 Prf246 Prf245 Prf242 51 california jazz conservatory 2016 – 2017 cjc.edu course descriptions 52 52 california jazz conservatory 2016 – 2017 cjc.edu course descriptions ensemble rateappliestothiscourse(seepage10). one onbass;anddrums.Note:Thetrio to twostudentsandonefaculty:onpiano; Caymmi andMarcos Silvaamongothers.Open Horta, ChicoPinheiro, HermetoPascual,Dori tradition includingAntônioCarlosJobim,Toninho Repertoire ofcomposersintheBrazilianjazz credit,11 hour lab Brazilian JazzPianoT Repertoire intheNorthIndian musictradition credits,32 hours lab T PRF 050Series—IndianEnsembles ensemble rateappliestothiscourse(seepage10). one onbass;anddrums.Note:Thetrio to twostudentsandonefaculty:onguitar; Caymmi andMarcos Silva amongothers.Open Horta, ChicoPinheiro, Hermeto Pascual,Dori tradition includingAntônioCarlosJobim,Toninho Repertoire ofcomposersintheBrazilianjazz credit,11 hour lab Brazilian JazzGuitarT Prf346A Prf250 Prf346B raditional NorthIndianEnsemble by composersincludingAliAkbarKhan and AlamKhanamongothers. rio rio to allinstrumentalistsandvocalists. Robbie, andRootsRadicsamongothers.Open Upsetters, BobMarleyandtheWailers, Slyand and ReggaetraditionincludingtheSkatalites, Repertoire ofcomposers in theSka,Rocksteady, credits,32 hours lab Ska andReggaeEnsemble others. Tower ofPowerandTheHeadhuntersamong including SlyandtheFamilyStone,ColdBlood, Repertoire ofcomposersinthefunktradition 2 credits, 3hourslab East BayFunknsemble the 1940stopresent. Repertoire inthebluesandR&Btraditionfrom credits,22 hours lab Blues andR&BEnsemble and ReggaeEnsembles PRF 060Series—Blues,R&B,Funk banjo, acousticorelectricbass, dobro andvocals. to acousticguitar, mandolin,fiddle, from BillMonroe toBela Fleck. Open and contemporarybluegrasstradition Repertoire ofcomposersinthetraditional 2 credits, 3hourslab Bluegrass Ensemble American RootsEnsembles PRF 080Series— to thepresent. The repertoire ofStingfrom ‘ThePolice’ credits,22 hours lab Sting Ensemble PRF 070Series—PopEnsembles Prf262 Prf261 Prf260 Prf280 Prf370

Prerequisite: PRF110B. stylistically relevant ensemblesound. parts, sightreading, intonationandcreating a arrangements. Emphasisonsinging closeharmony the SingersUnlimitedaswell asoriginalchartsand groups includingLambert,Hendricks&Rossand Repertoire includeshistoricarrangementsfrom Requirement / Elective—2credits, 2hourslab V or concurrent enrollment. Prerequisites: MUS110AandTHE100A of 80songsoverthisfour-year course. ists. Studentsare expectedtodeveloparepertoire year course.Opentovocalistsandinstrumental- to developarepertoire of100songsoverthisfour- cultivating apersonalstyle.Studentsare expected improvisation, vocaltechnique, phrasingaswell singers focusoninterpretation, stagepresence, Accompanied byapianistand/orrhythmsection, write lyricsandcreate their ownarrangements. free music.Studentscompose originalmaterial, bebop, modal,world,contemporarypopular, and styles from theGreat AmericanSongbookto An eight-semestercoursecoveringarangeof 3 credits, V V Prerequisites: HAR390Corconcurrent enrollment. century compositiontechniques. by ensemblestudents,incorporatingtwentieth Repertoire composedandperformedexclusively Elective –2credits, 3hourslab Contemporary MusicEnsemble 1 alto,tenorandbaritonesaxophone. bebop periodsandbeyond.Opento1soprano, Repertoire ofcomposersfrom theBaroque to 2 credits, 3hourslab Saxophone Quartet Western European Ensembles PRF 090Series— Prf111A andprf111B 410A and410B Prf110A, 110B,210210B,310310B, Prf390 Prf290 ocal JazzEnsemble ocal Performance ocal Performance 3 hourslecture/lab use inclass. First) installedfor or higher, or Pro T Pro Tools software (version9 own orhaveaccesstoalaptopcomputerwith the courseofa15-weeksemester. Studentsmust effects. Studentscomplete severalprojects over editing, usingMIDI,mixing,andaudio software. Topics includerecording audio,audio editing andmixingtechniquesusingAvid ProTools A one-semestercoursefocusingonrecording, 3 credits, 3hourslecture/lab and MixingT Digital Recording, Editing 6 orhigher)installedforuseinclass. laptop computerwithSibeliussoftware (version niques. Studentsmustownorhaveaccesstoa prerequisite forTEC400BasicRecording Tech- Introduction toMusicTechnology servesasa assist withdevelopingskillsinbasicmusicianship. also coverssoftware andweb-basedservicesthat simple recording andproduction. Thiscourse sequencing, sampling,scoring/musicnotation, An introduction tosoftware toolsavailablefor 2 credits, 2hourslecture/lab Introduction toMusicT Tec400 Tec100 music technolog echniques ools y echnology 53 california jazz conservatory 2016 – 2017 cjc.edu course descriptions 54 54 54 california jazz conservatory 2016 – 2017 cjc.edu course descriptions — StephenDuPraw, T I’m alwaysconnecting thedots. and performanceclasses, so coursework, privatelessons CJC Student in contentamong here’s anaturaloverlap presented. and interactionwithliverecording engineersare media. Strategiesforsuccessfulliveperformance destination ofliveshow, loudspeakerorrecording the source through themicrophone toitseventual providing anexplanationofthesignalpathfrom audio systemsandbasicrecording technology An introductory overviewofliveperformance 1 credit, 1hourlecture Audio forLivePerformanceandRecording music ontheInternet. distribution andsaleof royalty statementsandthe commercials, understanding for motionpictures, television and producer agreements, licensingmusic ments, recording contracts,musicpublishing, of agentsandmanagers,liveperformanceagree - relevant tojazzmusicians today, includingtherole contract andcopyrightlawcoverstopics Provides anunderstanding oftheprinciples tices thatare beingdeveloped toaddress them. musicians andjazzlabelsthebusinessprac- industry. Coverscurrent legalissuesfacedbyjazz technology haveshapedtheevolutionof industry andthemannerinwhichlaw An overviewofthevariouslegalissuesinmusic 1 credit, 1hourlecture for JazzMusicians Legal AspectsoftheMusicIndustry Bus300 Bus301 business ofmusic to plannedgraduation. to presentation andaminimum ofsixmonthsprior ted toandapproved byinstructor sixmonthsprior Please note:Workshop proposals mustbesubmit- consent ofinstructor. musicians. Prerequisites: senior-year standingor their employmentoptionsasprofessional Students gainhands-onteachingskills,expanding Community MusicSchoolWorkshop Series. their choicetothepublicaspartofJazzschool a live,short-termworkshop(2hours)ontopicof on anindividualbasis,studentsdesignandpresent issues related topedagogy. Guidedbyinstructor A coursefocusingonpedagogytechniquesand 1 credit, 1hourlecture Pedagogy T professional musician. publicity practicescriticaltothesuccessof A one-semestercoursefocusingonmarketingand 1 credit, 1hourlecture The Working Musician Bus401 Bus400 echniques California. 2600 Tenth Street, Berkeley, Studios atZaentzMediaCenter, This courseisheldoffsite atFantasy Coordinator. ProgramFantasy StudiosInternship Prerequisites: Resumeandconsentof Hospitalitymaintenanceandcleanliness • Clientconcierge services • Basicstudioadministrativetasks • Proper microphone andequipment • Recording sessionetiquette • Basicmixingconsoletheoryandapplication • Signalflowtheoryandpatching • Basicrecording sessiondesignandsetup • Basicrecording techniquesandmicrophone • Internship trainingincludes: professional, multi-room recording facility. practical trainingintheinnerworkingsofa Media Center, acourseproviding supervised In conjunctionwithFantasyStudiosatZaentz days/weeklab Elective —2credits; 2–3 Recording Program StudioInternship REC101 Recording arts handling andstorage placement

with afacultyadvisor. Students completethisproject inconjunction to production, publishingandcopyrightlaws. understanding ofallthelegalissuesrelated concert, rehearsing thebandandgainingan ing theproduct, marketingandpublicizingthe and mixingthematerial,packagingdistribut- composing andarrangingrepertoire, recording professionally recorded. Studentsfocuson Yoshi’s orotherconcertvenue.Theis of originalmaterial/arrangementsattheCJC, Seniors prepare andperformafull-lengthconcert 1 credit Senior Project

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t y 55 california jazz conservatory 2016 – 2017 cjc.edu course descriptions 56 california jazz conservatory 2016 – 2017 cjc.edu course descriptions ments mustbefulfilledattheCJC. ferable from anotherinstitution.Theserequire­ Sciences (3credits) requirements are nottrans ­ the SocialSciences(12credits) andPhysical and acceptedonacase-by-casebasis.Pleasenote: and QuantitativeReasoning(3credits) isevaluated Arts andHumanities(6credits) andMathematics requirements inEnglishCommunication(6credits), Transfer credit fulfillingCJCGeneralStudies electives from anyfullyaccredited institution. accepts selectGeneralStudiesrequirements/ the CaliforniaJazzConservatory. TheCJCalso A rangeofGeneralStudiescoursesisoffered at Area 5. Area 4. s ocial Sciences Area 3. a rts andHumanities Area 2. A credits andisdividedintothefollowingfiveareas: The GeneralStudiesrequirement comprises30 society. invaluable tothejazzprofessional inaglobal perspectives andprovide pointsofreference Courses inGeneralStudiesservetobroaden successfully inthemusicworldandbeyond. and communicationskillsnecessarytofunction broad-based culturalliteracy, criticalthinking professional. CoursesinGeneralStudiespromote the overalldevelopmentofaspiringjazz The GeneralStudiescurriculumisintegralto rea 1. rea RTMENT OF GENERAL OF DEPARTMENT englishCommunication (Requirement: 3credits) Physical Sciences (Requirement: 3credits) Quantitative Reasoning Mathematics and (Requirement: 12credits) (Requirement: 6credits) (Requirement: 6credits)

English Composition and are offered attheCJC: Communication GeneralStudiesrequirements The followingcoursesfulfilltheCJCEnglish Composition and3credits ofEnglishLiterature. English Communication:3credits ofEnglish Students are required totakeatotalof6credits in perspectives, experiencesandideas. the toolstheyneedtoexpress theirpersonal music reviews, manifestoes andrevisions togain art andculture, andwrite analyticalarguments, about music,theentertainmentindustry, visual a literaryform.Studentsread exemplaryessays and functionoftheessay(non-fictionprose) as writing andcriticalthinkingthatcoversstructure and grammar, acourseineffective expository Focusing onwritingstyle,sentencestructure 3 credits, 3hourslecture English CompositionRequirement /Elective The Essay of theirchoosingorautobiography. students writeabiographyofjazzmusician autobiographies ofjazzmusiciansasmodels, of writing“alife.”Usingkeybiographiesand examination ofthestructure andconventions research anddocumentationalongwithan as literaryforms.Considerationsincludestrategy, function ofthebiographyandautobiography A writingintensivethatcoversstructure and 3 credits, 3hourslecture English CompositionRequirement /Elective The BiographyandAutobiography ENG100 ENG102 (Requirement: 6credits) AREA 1.ENGLISHCOMMUNIATION S TUDIES

and explored. historical andmusicalcontextare emphasized et al.Indepthreadings and analysis,aswell Cortez, IshmaelReed,BillyCollins,QuincyTroupe, McClure, AlYoung, MichaelS.Harper, Jayne Dixon, LangstonHughes,JackKerouac, Michael studied through thevoices ofBessieSmith,Willie extensive rangeofpoeticandjazzaestheticsis styles nurtured bythemusic anditsplayers.This “NOW,” jazzpoetryhasrhythmicandlyrical and theBeats,modernpostmodern, Renaissance, pre- andpost- World War II,bebop and blues,continuingthrough theHarlem Beginning withthelyricsofworksongs,gospel 3 credits, 3hourslecture English Literature Requirement /Elective Poetry ofJazz;Jazz English Literature and achievementsbothpositivelyaccurately. a waythatrepresents students’personalskills of music;andhowtowriteautobiographicallyin music inperformance;howtocritiqueapiece skillful program notestoaccompanyapieceof that makesasocialcommentary;howtowrite that deployrhetoricalstrategies;analysesofmusic The ArtofRhetoric;famouspoliticalspeeches description ofthevariousmeanspersuasionin the rhetoricofargument. Topics include:Aristotle’s reading, andcritical-thinkingskillsbyaddressing A coursefocusingondevelopingpracticalwriting, 3 credits, 3hourslecture English CompositionRequirement /Elective Writing toDescribe,Persuade, Argue Practical Rhetoric: ENG105 ENG103 — Professor AnthonyBrown, Ph.D. I why Iprefer teachingattheCJasopposedtoanywhere else. efforts inmyclassroom and beyond.Infact,they, thestudentsare immensely rewarding artform, andIappreciate their earnest want tobecomecompetentperformersin achallengingbut engaged andtakethesubjectmaterialseriously. Theymostly truly enjoyteachingattheCJbecausestudentsare permitting. live performanceofonetheplays,schedule poetry, characterandperformanceattenda seminar format,studentsconsiderproblems of status todayasaseriousartform.Working in found inbrothels, barsanddancehalls,toits of jazzasearlytwentiethcenturyentertainment as preeminent dramaisanalogoustotheevolution raw commercial entertainmenttoitsstatustoday present. Theshiftfrom Shakespeare’s theatre as historical contextfrom theRenaissanceto the Sonnets,andKingLearwithanemphasison plays andpoetrysuchasTwelfth Night,Othello, A courseexaminingthree selectedShakespeare 3 credits, 3hourslecture English Literature Requirement /Elective From PlaystoWorks Introduction toShakespeare: ENG110 CJC Faculty 57 california jazz conservatory 2016 – 2017 cjc.edu course descriptions 58 58 58 california jazz conservatory 2016 – 2017 cjc.edu course descriptions HISTORY 47 ENGL 85B ENGL 85A ENGL 50 class-schedules-and-catalogs/. berkeleycitycollege.edu/wp/programs/ descriptions andclassschedules,pleasevisit by-case basis.ForBerkeleyCityCollegecourse courses ofinterest maybe approved onacase- Berkeley CityCollege.Pleasenote:Additional ment andhavebeenapproved fortransferfrom CJC EnglishLiterature General Studiesrequire- The followingsuggestedcoursesalsofulfillthe ENGL 100 ENGL 5 ENGL 1A,1B class-schedules-and-catalogs/. berkeleycitycollege.edu/wp/programs/ descriptions andclassschedules,pleasevisit case basis.ForBerkeleyCityCollegecourse courses ofinterest maybeapproved onacase-by- Berkeley CityCollege.Pleasenote:Additional ment andhavebeenapproved fortransferfrom CJC EnglishCompositionGeneralStudiesrequire- The followingsuggestedcoursesalsofulfillthe berkeley cityollegeourses that encouragescreativity andgrowth. CJ fostersaneducational environment

— Professor Jeff Denson,DMA T CJC Faculty low studenttoteacher ratioatthe he strong senseofcommunityand (3 credits) Critical ThinkinginHistory (4 credits) Century Late 17ththrough Mid19th Literature inEnglish: (4 credits) Milton Literature inEnglishthrough (3 credits) Multicultural AmericanLiterature credits) (3 College CompositionandReading Writing (3credits) Critical ThinkinginReadingand credits) (4 Composition andReading

requirements andare offered attheCJC: the CJCArtsandHumanitiesGeneralStudies of ArtsandHumanities.Thefollowingcoursesfulfill Students are required totake6credits inthearea understand andexplainhowlanguageswork. draw generalizationsandfindpatternsto analytical reasoning, and the skillsneededto the basicprinciplesoflinguisticanalysisand of datafrom diverselanguages. Studentslearn pragmatics andsociology, withawiderange contact phenomena,languageacquisition, semantics, historicalchange,creolization and and phonology, morphology, syntaxand and introduction tocore areas suchasphonetics A generalsurveyofthefieldlinguistics 3 credits, 3hourslecture Requirement/Elective Introduction toLinguistics their artisticpursuits. commerce andpersonalmotivationsbehind including therelationship betweenartand question theirownexpectationsregarding jazz, modernism andpostmodernphilosophy. Students and improvisation, andtherelationship ofjazzto covered includeahistoryoftheconceptmusic music aestheticsfrom Plato toAdorno.Topics profound questionswhile reviewing thehistoryof and Music”servesasaguideinaddressing these within thejazzidiom?AndyHamilton’s “Aesthetics of art?Howdoyouformyourartisticmessage What isthemeaningofjazz?purpose 3 credits, 3hourslecture Requirement/Elective Philosophy ofJazz HUM200 HUM305 (Requirement: 6credits) AREA 2.ARTS ANDHU MANITIES

WS 35 SPAN 1A,1B PORT 1A,1B PHIL 46 PHIL 10 PHIL 1 HUMAN 46 HUMAN 40 HUMAN 30A,30B HUMAN 26 HUMAN 21 HIST 33 FREN 1A,1B COMM 5 AFRAM 44B ART 4 ART 1 class-schedules-and-catalogs/. visit berkeleycitycollege.edu/wp/programs/ course descriptionsandclassschedules,please on acase-by-casebasis.ForBerkeleyCityCollege Additional coursesofinterest maybeapproved transfer from BerkeleyCityCollege.Pleasenote: ments/electives andhavebeenapproved for CJC ArtsandHumanitiesGeneralStudiesrequire- The followingsuggestedcoursesalsofulfillthe berkeley cityollegeourses Elementary French Elementary Spanish Elementary Portuguese (4 credits) (3 credits) (3 credits) Feminist Philosophy (5 credits) Experience Philosophy oftheHuman Logic (3 credits) Introduction toPhilosophy Experience Philosophy oftheHuman (3 credits) Religions oftheWorld Global Cinema(4credits) Film: Thought andLiterature History ofNativeAmerican (3 credits) Persuasion andCriticalThinking Thought (3credits) African-American Music/Art/ African-American Culture Today: History ofModernArt credits) Introduction toArtHistory (5 credits) Human Values/Ethics Human Values/Ethics Art andCommunication (3 credits) (3 credits) (3 credits) (5 credits)

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(3 credits)

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ment mustbefulfilledattheCJC. transferable from anotherinstitution.Thisrequire- Social SciencesGeneralStudiesrequirement isnot ment andisoffered attheJCJC.Pleasenote:The the CJCSocialSciencesGeneralStudiesrequire- the area ofSocialSciences.HIS100A–200Bfulfills Students are required totake12credits in democracy. ing theidealsoffreedom and globally celebratedasaculturalartformembody- century urbandancemusicthathasbecome gain asolidunderstandingofjazz,twentieth- sive listening,reading and discussion,students performed internationallytoday. Through exten- Europe andtheNewWorld, tothemusicthatis in themusicalcultures ofWest Africa,Western cultural developmentofjazz,from itsantecedents A four-semester courseexaminingthemusicaland Jazz History (Requirement: 12credits) AREA 3.SOCIALSIENES

59 california jazz conservatory 2016 – 2017 cjc.edu course descriptions 60 california jazz conservatory 2016 – 2017 cjc.edu course descriptions Prerequisite: HIS100A other socioeconomicandculturaltouchstones. and theGreat AmericanSongbook, among motion pictures, American musicaltheater ballrooms andbigbands, theriseofsound economic boom,theGreat Depression, within thecontextsofpost-World War I Charlie Parkerandmanyothersisstudied music ofLouisArmstrong, DukeEllington, War IImodernjazzjamsessionsinHarlem.The swing bandsandthejitterbug,topre-World of theProhibition era,through thereign ofthe A surveyofearlyjazzstyles,from theJazzAge 3 credits, 3hourslecture in Americafrom 1920 – 1939 Jazz History—StyleandCulture recordings. War I,andtheinventionofradiosound boom andtheGreat Black Migration,World including post-bellumsegregation, theindustrial historical contextofAmericansocialforces The developmentofjazzisstudiedwithinthe other AfricanAmericansacred andsecularmusic. jazz, anditsoriginsinspirituals,blues,ragtime cultural conventionsthatformthefoundationof African conceptualapproaches, practices,and jazz by1917.ThecoursefocusesontheWest Orleans thatbecameknowntotheworldas of jazzpre-1900, andontheearlymusicofNew European musicandculture onthedevelopment African, Caribbean,SouthAmerican,Asianand This courseexaminestheinfluencesof West 3 credits, 3hourslecture and EarlyJazz,Pre-1900 – 1919 Jazz History—TheRootsof HIS100B HIS100A Prerequisite: HIS100B historical epochsupontheevolutionofjazz. burgeoning CivilRightsMovement andother the hegemonyoftelevision,advertising, of World War II,theAtomicAgeandColdWar, draw connectionsbetweenthemid-centuryimpact rhythmic creativity, andfolkinfluences.Students on instrumentalgrouping, structural,harmonicand many oftheircollaboratorsare examined,focusing Silver’s JazzMessengers,OrnetteColemanand Modern JazzQuartet,ArtBlakey’s andHorace Thelonious Monk,MilesDavis,MaxRoach,the and otherstylescreated byDizzyGillespie, ing bebop,hard bop,funk,Latinjazz,cool through thebeginningsoffree jazz.Stylesinclud- focus onthemusicalinnovationsofmodernjazz This courseexplores jazzasanartform,witha 3 credits, 3hourslecture in Americafrom 1940 – 1959 Jazz History—StyleandCulture Prerequisite: HIS200A forms andinstrumentsintothejazzworld. infuse adiverserangeofcompositionalstyles, from Africa,Asia,andtheNewWorld continuesto ences from traditionaland contemporarymusicians dance origins.Thesteadyinfluxofglobalinflu- Chick Corea, etal,andthe return ofjazztoits collaborators, HerbieHancock,Weather Report, electronic fusionmusicof MilesDavisandhis ideas ofWyntonMarsalisjuxtaposedwiththe New York LoftScene,jazzinEurope, themusicand evolution offree jazzwith theAACM,1970s subgenres ofpost-Coltrane jazz,particularlythe This coursesurveystherangeofidiomsand 3 credits, 3hourslecture in Americafrom 1960 – Present Jazz History—StyleandCulture HIS200A HIS200B ment andisoffered attheCJC: Quantitative ReasoningGeneralStudiesrequire- following coursefulfillstheCJCMathematicsand of MathematicsandQuantitativeReasoning.The Students are required totake3credits inthearea BUS 20 BUS 53 BUS 20 BUS 10 class-schedules-and-catalogs/. visit berkeleycitycollege.edu/wp/programs/ course descriptionsandclassschedules,please a case-by-casebasis.ForBerkeleyCityCollege Additional coursesofinterest maybeapproved on transfer from BerkeleyCity College.Pleasenote: Studies requirement andhavebeenapproved for Mathematics andQuantitativeReasoningGeneral The followingsuggestedcoursesalsofulfillCJC’s berkeley cityollegeourses at theCJC. industry-related ventures. Thiscourseisoffered foundation applicabletoawiderangeofmusic This courseprovides students withasolidfinancial profitability, financial planning,andtaximplication. financial statementanalysis,costingprojects and learning, studentsgainanunderstandingof industry. Usingasystematicapproach to skills criticaltoasuccessfulcareer inthemusic professional musicianwithentrepreneurial A coursedesignedtoprovide theaspiring 3 credits, 3hourslecture Entrepreneurial SkillsforMusicians MAT300 (3 credits) Management credits) (3 (3 credits) (Requirement: 3credits) QUANTITATIVE REASONING AREA 4.MATHEMATI CS AND Business Mathematics Small Business General Accounting Introduction toBusiness (3 credits)

requirement mustbefulfilledattheCJC. is nottransferablefrom anotherinstitution.This Physical SciencesGeneralStudiesrequirement and isoffered attheCJC.Pleasenote:The Physical SciencesGeneralStudiesrequirements area ofPhysicalSciences.SCI300fulfillstheCJC Students are required totake3credits inthe complex phenomena. primarily onaconceptualunderstandingof rating somebasicmathematics,thiscoursefocuses ence andsensibilitiesasmusicians.Whileincorpo- toward expandingandbuilding ontheirexperi- music from ascientificperspective, studentswork music technology. Through anunderstandingof acoustics; pitch,tuningandtemperament; production andtimbre; acousticsandpsycho- design. Topics include:waveproperties; sound experience itasmusicandreshape itthrough propagate, tothehuman earandbrainthat object andthespacethrough whichitswaves music —from theenergy thatexcitesthevibrating An explorationofthemechanicsandperception of 3 credits, 3hourslecture/lab Physics ofSoundandMusic SCI300 (Requirement: 3credits) AREA 5.PHYSICALSIENES — DillonVado, CJCStudent M great players. becoming thenextgeneration of want thestudentsto succeedin They really demonstratethatthey in theirfield,are alsogreat teachers. addition tobeingthebestplayers every singleday. Thefaculty, in been nothingshortofmagical y experienceattheC

JC has 61 california jazz conservatory 2016 – 2017 cjc.edu course descriptions michael Zilber 62 michael Zilb er V consistent basisbyresident faculty. load ofappliedlessonstaughton a Instructor: Anindeterminatecourse intermittent basisbyresident faculty. classroom hours /weektaughtonan Adjunct: courseloadoflessthan12 resident faculty. week taughtonaconsistentbasisby 18 privatestudioinstructionhours/ to up and 12 classroom hours week / Part-time: Acourseloadoflessthan resident faculty. week taughtonaconsistentbasisby to 18privatestudioinstructionhours/ room hours/weekandaloadofup Full-time: Acourseloadof12class- Faculty Classifications teach onoccasion. performers and/oracademicianswho nationally orInternationallyrenowned V give appliedlessonsonaregular basis. academicians inthefieldofjazzwho Widely recognized performersand/or or demonstratingtheequivalent. the minimum of a Bachelor’s degree Instructor: Residentfacultyholding field ofjazzwhoteachonoccasion. performers and/oracademiciansinthe the equivalent.Widelyrecognized Master’s degree ordemonstrating faculty holdingtheminimumofa Adjunct Professor: Resident teach onaregular basis. academicians inthefieldofjazzwho Widely recognized performersand/or or demonstratingtheequivalent. faculty holdingaMaster’s degree Associate Professor: Resident basis. field ofjazzwhoteachona regular performers and/oracademiciansinthe the equivalent.Widelyrecognized holding aPh.D.ordemonstrating Full Professor: Residentfaculty Faculty Rankings F of timebynon-resident faculty. week taughtforadeterminateperiod minate numberofclassroom hours/ aculty isiting: Acourseloadofadeter isiting Professor: Non-resident, - Francisco Symphonyamongothers. Francisco SaxophoneQuartetand San classical saxophoneplayingwith the San educator for42years;specializing in 1979. Professional musicianandmusic State, 1982;B.A.inMusic,UCBerkeley, M.M inPerformance,SanFrancisco (Associate Professor, part-time) William R.Aron /Woodwinds laurieantonioli.com. AllAboutJazz, KQEDArtsandmore. with reviews inDownbeat,JazzTimes, Richie Beirach(OriginRecords, 2015), Records, 2014),and“Varuna” with — ThemusicofJoniMitchell,(Origin ing “SongsofShadow, SongsofLight” critically acclaimedrecordings includ- Dreams Band.Hasreleased numerous of Foreign Affair BandandTheAmerican Jordan andMarkMurphy. Bandleader Poindexter, JoeHenderson,Sheila Bobby McFerrin,RichieBeirach,Pony and/or recorded withGeorge Cables, with TheoBleckmann.Performed annual summerVocal JazzIntensive ment forCJCVocal Program. Co-teaches adjudicator andcurriculumdevelop- of IntrinsicMusicRecord Co.Clinician, Japan; andOriginRecords, USA.Owner Records, Germany;Yamaha Records, recording artistwithreleases onNabel 2002-2006); Internationalperformingand Vocal JazzStudies,KUGU.,Graz,Austria Henderson andMarkMurphy. Professor, State LongBeach.StudentofJoe Studied atMt.HoodCollegeandCal (Full Professor, full-time) Chair, V Laurie Antonioli/V Wayne Shorter. ambroseakinmusire.com. Wallace Roney, HerbieHancockand Terri Lynne Carrington,RonCarter, and Jason Moran,HalCrook, BobHurst, Francisco JazzCollective,JimmyHeath, Persip, theMingusBigBand,San Harris, JoshRoseman,Vijay Iyer, Charlie Steve Coleman,BillyHiggins,Stefon with JoeHenderson,JoshuaRedman, and recording artist/clinician.Performed Competition. Internationalperforming 2007 TheloniousMonkInternationalJazz Jazz Trumpet SoloCompetitionand the 2007CarmineCarusoInternational Childs andGaryGrant.Winnerofboth Laurie Frink,Terence Blanchard, Billy Philharmonic, DickOatts,LewSoloff, Vincent Pinzerella from theNewYork School ofMusic.Studiedwith Institute; BMinPerformance,Manhattan MA inMusic,USCandtheMonk (V Ambrose Akinmusire /T isiting Professor, onoccasion) tudies ocal JazzStudies oice oice

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theobleckmann.com. master classesworldwide. voice privatelyandinworkshops and New SchoolandQueensCollege. Teaches on facultyatNewYork University, The at ManhattanSchoolofMusic.Previously Morris DanceGroup. Currently onfaculty Cunningham DanceCompanyand Mark Chorus, EstonianRadioChoir, Merce Symphony, SanFranciscoSymphony All-Stars. Featured soloistwiththeAlbany John ZornandtheBangOnACan Thomas, Glass, Meredith Monk,MichaelTilson Steve Coleman,DaveDouglas,Philip with LaurieBraxton, Anthony Anderson, recording artist andeducator. Performed international performingand and National (V Theo Bleckmann/V Larry CoryellandZakirHussain. Eddie Harris,MarkLevine,PatMetheny, Henderson, MaxRoach,BlueMitchell, Mauleon, RayObiedo,Marcos Silva,Joe Puente, Francisco Aguabella,Rebeca Machete Ensemble,DaniloPerez, Tito Pete Escovedo,JohnSantosandThe Recorded and/orperformed with San FranciscoConservatoryofMusic. Studied atSanFranciscoStateand (Associate Professor, part-time) David Belove/Bass Colombia. dougbeavers.com Universidad Sergio Arboleda,Bogotá, Medanos College.Annualresidency at Stanford University, CSUEastBayandLos and others.Clinician/masterclasses at Mingus BigBand,RosemaryClooney, Legends, PaulSimon,RubenBlades, Tipica ’73,Africando,TheMambo Palmieri, SpanishHarlemOrchestra, arranged, and/orrecorded withEddie Urban Music,NewYork. Performed, Founding Director, HarlemSchoolof Here); four-time Grammynominee; award-winner (EddiePalmieriListen State University, Hayward, 2000.Grammy of Music,2002;BAinCalifornia MA inComposition,ManhattanSchool (Adjunct Professor, part-time) Doug Beavers/T leader, JoeBagaleBand. Symphony Orchestra; Mafia Jazz the Orchestra, DisappearIncompletely, and including HotEinstein,Realistic full timememberofBayArea bands played withFred Wesley (JamesBrown); Carter, DarmonMeader, ScottAmendola; Gadd, BenMonder, ClayJenkins,Ron studied withRichThompson,Steve Rhythm SectionPlayerbyWyntonMarsalis; Recorders, SF;awarded Outstanding Record producer; Manager, Coast Eastman SchoolofMusic(11/2yrs.). (Associate Professor, part-time) Joe Bagale/MusicT isiting Professor, onoccasion) rombone, Composition oice oice echnology echnology

63 california jazz conservatory 2016 – 2017 cjc.edu faculty 64 64 california jazz conservatory 2016 – 2017 cjc.edu faculty since 2012. 20+ years.HastaughtPhysicsandMusic at UniversityofCalifornia,Berkeleyfor lab managerwiththePhysicsDepartment Lecturer, labanddiscussioninstructor, and University ofWisconsin,Madison. Mechanical EngineeringandMathematics, University ofCalifornia,Berkeley;BSMEin Graduate studiesinMathematics, (Associate Professor, part-time) T California Press. fifthstreammusic.org. Drumming isforthcomingonUniversityof SOME! TheDevelopmentofModernJazz and hisbook,GIVETHEDRUMMER to DukeEllington(CambridgeU.Press), U. Press), TheCambridgeCompanion America’s QuestForFreedom (Oxford uted chapterstoJohnColtraneandBlack Asian AmericanOrchestra. Hehascontrib- Music, andtheinternationallyacclaimed rently ArtisticDirector ofFifthStream at theSmithsonianInstitution.Heiscur Director oftheJazzOralHistoryProgram Curator ofAmericanMusicalCulture and for TheExploratorium,andpreviously was UC Berkeley, anadviserandconsultant served asaVisiting Professor ofMusicat mance from RutgersUniversity. Hehas a MasterofMusicdegree injazzperfor (ethnomusicology) from UCBerkeley, and Brown holdsanM.A.andPh.D.inmusic and theSanFranciscoSymphony. Dr. Steve Lacy, DavidMurray, AnthonyDavis Max Roach,CecilTaylor, ZakirHussain, Dr. AnthonyBrown hascollaboratedwith Associate Scholar, andGRAMMYnominee Guggenheim andFord Fellow, Smithsonian Composer, percussionist, ethnomusicologist, (Full Professor, part-time) History Methodology, Ethnomusicology Anthony Brown / Jazz History, JazzOral Hampton Hawes,CarmenMcRae. Betty Carter, TitoPuente,Woody Herman, engineered recordings Blackwell, Ed by Orchestra, Oregon; Ellington Duke Vaughan, Van Morrison,AstorPiazzolla, Grappelli, CountBasieOrchestra, Sarah live showsforBillEvansTrio, Stephane Workshop, DickBright’s SROBand;mixed Great AmericanMusicHall,Stanford Jazz Productions; headsoundtechnician, engineer, Avalon Ballroom, FamilyDog Sound systemoperation,design. (Associate Professor, part-time) Lee Brenkman /Recording, Sound erry Buehler

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designer. mzjazz.com. clinician, St.John’s U.;graphicartist,web by theSanFranciscoChronicle; visiting artist; awarded BestoftheYear inJazz bandleader, performing artist,recording tor/mentor forJazzschoolconcertseries; ings; producer, 25concertsandinstruc- coaching, 30years;producer, 10record- faculty, Jazzschoolsince2002,private faculty, BlueBearSchoolofMusic; Barbara. FellowNYCabaret Symposium; Barbara; B.A.inEnglishLit,UCSanta Advanced degree inEducation,UCSanta (Associate Professor, part-time) Maye Cavallaro /V Conservatory sinceitsinceptionin1997. Faculty memberoftheCaliforniaJazz with Van MorrisonandJohnLeeHooker. Clifton Chenier, and“Don’t LookBack”, records, “I’mHere” withZydecoKing Guitarist on2GrammyAward-winning John, JohnClaytonandTeddy Edwards. including Van Morrisson,BonnieRaitt,Dr over adecade.Performedwithlegends guitarist forthelateCharlesBrown for and recordingand artist;musicdirector among others.Internationaltouring Diorio, RonEscheteandPatMartino Institute, LosAngeles.StudiedwithJoe graduate ofHoward Roberts’Guitar BA inEnglishandMusic,OberlinCollege; (Adjunct Professor, part-time) Danny Caron /Guitar PlazaCuba. johncalloway.com. Jazz CampWest; program coordinator, U.; clinician,Stanford JazzWorkshop and Omar Sosa;faculty, SanFranciscoState rations withJohnSantos,JesusDiazand include Diaspora,TheCodeandcollabo- Mauleon andWayne Wallace. Recordings John Santos,QuiqueCruz,Rebeca Gillespie, PeteEscovedo,JesusDiaz, Lopez, MaxRoach,OmarSosa,Dizzy and LatinAmericawithIsrael“Cachao” throughout theUnitedStates,Europe in jazzandLatinmusicstyles;performed instrumentalist, composerandarranger City UniversityofNewYork. Multi- San FranciscoStateU.;BAinMusic, progress); MAinMusicEducation, Education, U.ofSanFrancisco(in PhD inInternationalandMulti-Cultural (V John Calloway/Flute,Piano isiting Professor, onoccasion) oice

throughout theSanFranciscoBayArea. the Word, CJC;performerandreader Florio Street Concerts;producer, Jazzand Groove ofJazz”,JCMS;co-producer, in AdultEducation;teacher,” Literary ative writing,BerkeleyAdultSchool;tutor Berkeley; teachesEnglish,poetry, cre- Bread LoafSchoolofEnglish&UC Graduate Studies,PoetryandDrama, BA inLiterature, St.Lawrence University; (Adjunct Professor, part-time) George W. Davis/PoetryLiterature boards, andpercussion intheBayArea. Francisco andperformsonpiano,key- 1964 quintet.Hecurrently livesinSan he iswritingadissertationonMilesDavis’ musicology atStanford Universitywhere lege, KwamiisnowaPh.D.candidatein in andaround NewYork Citywhileincol- deep house,andexperimentalensembles several jazz,Afro-Cuban, hip-hop,soul, University ofNewYork. Performing with with honorsatHunterCollege,City before earningaBAandMAinmusic of MusicandArtPerformingArts the Fiorello H.LaGuardia HighSchool Carnegie Hall,Kwamigraduatedfrom of ageonpianoinasmallstudioat he beganhisformalstudiesatfouryears Born andraisedinNewYork City, where (V Piano, Percussion Kwami Coleman/Musicology; Oaktown andCazadero jazzworkshops. and ensembleinstructorattheStanford, specials. Clinician,lecturer injazzhistory, CNN ShowbizToday andnumerous PBS addition totelevisedperformancesfor Stanford, andRochesterjazzfestivalsin Monterey, SanFrancisco,Vienne, BigSur, States includingappearancesatthe throughout Asia,Europe andtheUnited Teddy Edwards. Toured extensively Gene Bertoncini,JoshuaRedman,and Faddis, David“Fathead”Newman, Benny Golson,EddieMarshall,John or performedwithBobbyHutcherson, Conservatory ofMusic.Recorded and/ BFA inJazzStudiesfrom theOberlin (Instructor, part-time) Matt Clark/PianoAccompanist isiting Professor, onoccasion)

anndyer.com. Dance andPsychology, MillsCollege. Dhanshree Pandit,MarkMurphy. BAin Pandit Mukesh,Desai,ShwetaJhaveri, Premonition Records. Studieswith Time Fairies.”Recordings, Sunnyside, instructor. Leader, “AnnDyer&NoGood performing andrecording artist,yoga Vocalist, lyricist,composer, international (Adjunct Professor, part-time) Ann Dyer/Yoga the femalevocalquartet,Montage. The GirlinBobs,andmemberof lead singerforClockwork,currently and BillyPaul.Foundingmember Chandler, EddieHolman,BarbaraMason Williams, BarbaraLewis,GQ,Gene The Manhattans,Heatwave,Deneice Shelton, TheHi-Lo’s, BarbaraMorrison, Performed withBobbyMcFerrin,Don Francisco SchooloftheArtsHighSchool. Melecio MagdaluyoatRuthAsawaSan Vocal JazzChoirandSoloLabwith pop solocoach.Artist-in-residence, jazz adjudicatorandclinician, and recording artist,studiosinger, vocal Singers withPhilMattson.Performing member oftheGrammy-nominatedPM Terry SummaandTimSmith. Founding University. StudiedwithPhilMattson, B.A. InMusicPerformance,Gonzaga (Associate Professor, part-time) Angie Doctor/V Village Vanguard. jeffdenson.com. Festival, TheKennedyCenterandthe Festival ParisandtheMontreal Jazz Berlin JazzFestival,theJVC Konitz. Selectperformancesinclude: Alessi, CharlesMcPhersonandLee Puntin, LionelLoueke,DanWeiss, Ralph Mark Dresser, Geoffrey Keezer, Claudio Carl Allen,KennyWerner, AnthonyDavis, performed withBobMoses,JoeLovano, national performingandrecording artist; Konitz NewQuartet.Nationalandinter ing artistwithMinsarahandtheLee College ofMusic.EnjaRecords record- BM inPerformanceCumLaude,Berklee Cum Laude,FloridaStateUniversity; San Diego;MMinJazzStudiesMagna Composition, UniversityofCalifornia Performance withanemphasisin DMA inContemporaryMusic (Full Professor, full-time) Jeff Denson/oubleBass nsemble ocal JazzEnsemble

- Holloway, RufusReid,AlanBroadbent; Patti Austin,ChristianMcBride,Red Bobby Hutcherson,Frederica Von Stade, Brubeck, Diane Schuur, JamesMoody, Redman; ErnestineAnderson,Dave BET jazzchannel;performedwithJoshua with fivealbumsasaleader;featured on since 1999;leader, Taylor EigstiGroup nominee; faculty, Stanford JazzWorkshop Concord Recording Artist;2007Grammy Studied musicatU.ofSouthernCalifornia. (V T kaizone.com. Los Angeles. Technology in Institute of and Musician’s Conservatory, Austria; Anton Bruckner the BassCollective,NYC; College ofMusic,Boston; Faculty onoccasionatBerklee Marshall, andStanleyClarke. Hussain, George Brooks, Mike Fareed Haque,CourtneyPine,Zakir Brecker, JohnMcLaughlin,BillyCobham, Information, AlphonseMouzon,Randy performed withSteveSmith’s Vital recording artist,composerandeducator; Internationally acclaimedperformingand BA withhonors,BerkleeCollegeofMusic. (Adjunct Professor, part-time) Kai Eckhardt /Bass Keyboard Magazine.tayjazz.com. Magazine, Billboard, Jazziz,JazzTimes, Jazz onNPR;featured inDownBeat featured onMarianMcPartland’s Piano igsti / Piano aylor Eigsti/Piano isiting Professor, onoccasion)

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erquiaga.com. from hisCDCafeParadiso. Guitar DuetsandArrangements Clinics; publications include faculty, JameyAebersoldJazz founder, leader, Trio Paradiso; Andy Narell, and PaulMcCandless; String Quartet,PauloBellinati, Scofield, DavidByrne, Turtle Island Henderson, Les McCann,John performed withBobbyMcFerrin,Joe Festival, NorthSeaJazzFestival; Montreux JazzFestival,Berlin and performingartist;performedat National andinternationalrecording (Associate Professor, part-time) Steve Erquiaga /Guitar

65 california jazz conservatory 2016 – 2017 cjc.edu faculty 66 california jazz conservatory 2016 – 2017 cjc.edu faculty as wellFantasyStudiosinBerkeley. What’s ForLunch?Recording inElCerrito, regularly workingoutofhisownstudio, the highestspotsonJazzradio charts, hundreds ofalbumsforartistsreaching and recording engineer, hehasrecorded Billy ElliotandTheLionKing.Asa producer including localandtouringproductions of done musicaltheatre pitorchestra work Bakery andBakedPotatoinLA,has wideincluding TheBlueNoteinNYC,Jazz Festivals, performedatjazzclubsnation- including theMonterey andPlayboyJazz a bassist,playedatmajorjazzfestivals featured onhundreds ofrecordings as host ofBayArea musicians.Danhasbeen Berroa, JonSecada,andlocallywitha Moody, AnnHamptonCalloway, Ignacio with RaulMidon,JulioIglesias,James and recording engineer. Hasperformed 1998. SFBayArea-based bassist,producer B.M. inStudioMusicandJazz,U.ofMiami, (Associate Professor, part-time) Dan Feiszli/Bass,Recording Engineer United StatesandBrazil. sented manyworkshopsthroughout the California BrazilCampandhasalsopre- others. Ianteachesattherenowned Côrtes, andScottThompson,among Jeff Cressman, SandyCressman, Almir Araújo, Marcos Silva,HarveyWainapel, Clarice Assad,JeanCharnaux,Túlio Vitor Gonçalves,MoyseisMarques, Spok, PaulaSantoro, RafaelBarata, Guinga, with nationally andinternationally Brazil. Hasperformedand/or recorded izing inthemusicfrom hisnativecountry, guitarist, vocalistandarranger, special- Conservatory (inprogress). Composer, B.M. inJazzStudies,California (Instructor, part-time) Ian Faquini/Guitar Stone. billevansbanjo.com. Yates (HotButtered Rum)andJayme Still), Wes Corbett(JoyKillsSorrow), Erik Greg Liszt(BruceSpringsteen,Crooked Pandolfi (TheInfamousStringdusters), and bluegrasscharts;mentored Chris Good Companytoppedinternationalfolk Banjo Newslettermagazine;2012CDIn NashCamp BanjoCamp;columnistfor University, CarletonCollege;director of of Music,Virginia Commonwealth cian/artist inresidence atBerkleeCollege author ofBanjoForDummies;guestclini- Peter Rowan&DryBranchFire Squad; who hasperformedwithDavidGrisman, international performing/recording artist of Virginia, Anthropology (Folklore); Music (Ethnomusicology);BA,University PhD candidate&MA,UCBerkeleyin (Associate Professor, part-time) Bill Evans/Banjo

joegilman.com. on Sunnyside andCapri labels. the PerformingArtsandUSIA;recordings Jazz Ambassador, KennedyCenterfor Jazz PianoCompetition; International Watts; awarded 2004Great American with Tootie Heath,JoeHenderson,Jeff Marlena Shaw, SlideHampton; recorded Hutcherson, Woody Shaw, ChrisBotti, performed withEddieHarris,Bobby River College,BrubeckInstitute; Studies, IndianaU.Faculty, American School ofMusic;BAinPianoandJazz Jazz andContemporaryMedia,Eastman PhD inEducation,U.ofSarasota;MA (V Joe Gilman/Piano Saxophone Quartet. zentlawgroup.com. the non-profit organization oftheRova Gascon isaboard memberofRova:Arts, Tin HatandCuongVu. Inaddition,Mr. Mick Rossi,KendraShank,Edward Simon, Andy Laster, KateMcGarry, MyraMelford, Wayne Horvitz,HotClubofSanFrancisco, Campilongo, DaveDouglas,MartyEhrlich, includes DaveBinney, DonByron, Jim listing ofhisclients,pastandpresent, pictures, televisionandvideos.Apartial recordings foruseincommercials, motion licensing ofcompositionsandmaster recording agreements aswellthe ment, publishing,production and the negotiationofdistribution,manage- bands andindependentrecord labelsin Mr. Gasconrepresents artists,composers, music, motionpictures andthevisualarts. particular emphasisindigitalmedia, property lawandlicensing,witha focused intheareas ofintellectual California. Mr. Gascon’s practiceis with theZentLawGroup inSunnyvale, entertainment andtechnologylawyer Northern University. Todd Gasconisan JD UniversityofDayton;B.S.B.A.Ohio (Associate Professor, part-time) T and DianaKrall.mimifoxjazzguitar.com. Burrell, Branford Marsalis, DavidSanchez Performed withCharlieByrd, Kenny NPR; featured artist,KennedyCenter. on MarianMcPartland’s PianoJazzon Berkeley CollegeofMusic;featured artist of theArts,U.Oregon, USC and Festival, Yale U.,CalArts,CornishCollege at Alaska JazzWorkshop, BrittMusic at NYU;guestclinician/artistinresidence Festival. Adjunctprofessor ofJazzStudies North Wales InternationalJazzGuitar Monterey, GuinnessCork,Perthand and Australia. FestivalsincludeMontreal, throughout Europe, Asia,theCaribbean International CriticsPollwinner. Performed and five-timeDownBeatMagazine International recording/performing artist (Associate Professor, part-time) Mimi Fox/Guitar ascon / Business of Music odd M.Gascon/BusinessofMusic isiting professor, onoccasion)

Franklin. peterhorvath.com. arranged andrecorded forAretha Maupin, RichieCole, RayObiedo; Symphony, BobSheppard, Bennie Henderson, LalahHathaway, Oakland Bailey Group, BobbyHutcherson,Joe Performed, toured, recorded withVictor Hungary; Vienna ConservatoryofMusic. Bartok ConservatoryofMusic,Budapest, MA, BerkleeCollegeofMusic;Bela (Adjunct Professor, part-time) Peter Horvath/Piano jazzdrumming.com. Aquarian Accessories. with ZildjianCymbals,Vic FirthSticks, Stuart Hamm;artistendorsement Walker, RebeccaParris,KaiEckhardt, Wilamson, ArtLande,Tom Coster, Kit Paul McCandless,EddieHarris,Bruce author; performedwithErnieWatts, adjunct facultyatUCBerkeley;clinician; professor atBerkleeCollegeofMusic; Advisor, DrumProgram. Formerassistant (Associate Professor, part-time) Alan Hall/Drums bennygreenmusic.com influential JazzEnsemble. days atBerkeleyHigh,intheschool’s remarkable career stretches backtohis Protégé PrizeinMusic(1993),andhis ent oftheGlennGouldInternational drums. BennyGreen wasthefirst recipi- on bassandKennyWashington on Messenger teammate,PeterWashington compositions, andincludeshisJazz self-produced recording ofalloriginal Magic Beans(Sunnyside,2013),ishisfirst other labels.Hismostrecent release, with others,forBlueNote,Telarc and dozens ofrecordings, asaleaderand his owntrioin1991,andhasproduced Malone, tonameonlyafew. Heformed Etta Jones,MiltJackson,andRussell ings withthemandOscarPeterson, He hasappeared onhundreds ofrecord- Carter, Freddie Hubbard andRayBrown. side manwithsuchnotablesasBetty Messengers, BennyGreen servedasstar A memberofArtBlakey’s famedJazz (V Benny Green /Piano Basie Orchestra andtheSFJazzAllStars. by suchartistsasLedisiwiththeCount have beencommissionedandperformed Lewis, Smashmouth.Hisarrangements Diana Krall,Dr. John,PeterGabriel,Huey Dynasty, MariaSchneider, Tony Bennett, ist withTerence Blanchard, theMingus formed and/orrecorded asatrombon- Jazz StudiesatLaneyCollege.Hasper composition andarranging.Director of winner oftwoDownbeatawards for Performance, EastmanSchoolofMusic; MM andBMinJazzComposition (Full Professor, full-time) John Gove/T isiting professor, onoccasion) rombone

- journey, as well ashisfather’s. which tellsthestory ofhismusical recently in thefilm“PlayLikeaLion,” Amplive andJanakaSelekta.He was legend Elighandelectronic musicians Homayoun Sakhi,underground hip-hop Rob Wasserman, ChristopherHedge, Derek Trucks, SusanTedeschi, BobWeir, of artistsfrom different genres suchas Anindo Chatterjee,andwithawidearray Swapan Chaudhuri,ZakirHussainand has performedwithIndia’s tablamasters a newgenerationofsarode players.He Akbar Khan’s trueheirandthefaceof leader andhasestablishedhimselfasAli worldwide bothasanaccompanistand ship ofhasfather, Khan hastoured Senia Gharanaandunderthementor College ofMusic.Trained attheMaihar tal andvocalclassesattheAliAkbar Khan. Instructorofadvancedinstrumen- the legendarysarode maestro AliAkbar International performingartistandsonof (Adjunct Professor, part-time) Alam Khan/NorthIndianSarode 12 books,70articles. Government grantsystem.Haspublished Australia’s EndeavourCommonwealth women inSaudiArabia,PanelChairfor Professorial instructorforuniversity fessor atSanFranciscoStateUniversity. (Osher LifelongLearningInstitute);pro- Renaissance Literature atUCBerkeley in Dramaturgy andAdjunctProfessor in California Shakespeare Theater, Professor Americas). ResidentDramaturg atthe Managers andDramaturgs ofthe for InnovationinDramaturgy (Literary of NewSouthWales) andBlyAward for ExcellenceinTeaching (University Awardee (ARC).Vice Chancellor’s award Australian Research CouncilLarge Grant University, UniversityofSydney. New SouthWales, AustralianNational Fellowships awarded byUniversityof Fellow (Oxford). AdditionalUniversity Fellow (Bellagio),SeniorCommonRoom Senior Fellow(UCBerkeley),Rockerfeller and ElizaHallScholar(Oxford); Fulbright Commonwealth Scholar(Oxford); Walter Hons (1),1982,UniversityofQueensland. PhD, UniversityofQueensland,1987;BA (Full Professor, part-time) Chair, EnglishDepartment Philippa Kelly/Literature; erikjekabson.com. College andLosMedanosCollege. label. Currently teachesatBerkeleyCity Intersection onFresh Sound/NewTalent projects. Recorded asoloalbum and hascomposedforfilmdance Mayer, IllinoisJacquetandGalactic, Conservatory ofMusic.Toured withJohn of Music;BMus.inTrumpet, Oberlin MA inComposition,SFConservatory (Associate Professor, part-time) Erik Jekabson/T rumpet rumpet

- Laura Klein/AlexanderT and theBayArea Video Coalition. Art InstituteofCalifornia–SanFrancisco at localrecording schoolsincludingThe Studios, andStudioGuapo.Hastaught engineer atOverlapStudio,Ghostcat as arecording, mixingandmastering Future Twin amongothers.Alsoworks Roma 79,Pleasuremaker, miRthkon,and Silvia Nakkach,ChristopherEickmann, Willits, Tycho, TheLivingEarthShow, Bay Area artistsincludingChristopher tor. Hasengineered andco-produced engineer, sounddesigner, andinstruc- Kansas City. Grammy-nominatedaudio Engineering from UniversityofMissouri- MFA inSoundDesignandAudio (Associate Professor, part-time) Ryan Kleeman/AudioProduction and UnusualMusicSeries.kitka.org. Players andintheSFSymphony’s New also ComposersInc.,LeftCoastChamber ber, playedfor15years withEARPLAY; Illinois Philharmonic.Asafoundingmem- Civic Orchestra ofChicagoandthe Symphony, CaliforniaSymphony, the Performed asaflutistwiththeBerkeley Khalife; andonPrairieHomeCompanion. and theCulturalHeritageChoir;Marcel Mystère desVoix Bulgares; LindaTillery Berkeley. PerformedwithA.C.T.; Le Awarded aHertzFellowshipfrom UC singer MarianaSadovska,andothers. Kremena Stancheva,andUkrainian Bulgarian singersTzvetankaVarimezova, Women’s Vocal Ensemble.Trained with Music,1988. MusicDirector, KITKA BM, SanFranciscoConservatoryof (Adjunct Professor, part-time) Janet Kutulas/V lauraklein.net. co-leader ofFivePlayJazzQuintet. nist/composer; five recordings; currently Berklee PrivateStudies.Activejazzpia- Community MusicCenterandpianoat Taught pianoandjazzensembles atSF Technique inBerkeleysince 1987. Private practiceteachingtheAlexander (Teacher Training Course),2001-08. Area CenterfortheAlexanderTechnique Department 150Program. Faculty, Bay Alexander Technique, UC BerkeleyMusic Technique, AmSAT, STAT. Instructorof Technique, Centerforthe Alexander Certified Teacher ofthe Alexander Studies atBerkleeCollegeofMusic. BA inMusic,SUNYBuffalo. Jazz (Associate Professor, part-time) oice oice

echnique echnique

frankmartinproductions.com Faculty, UC BerkeleyJazzEnsembles. Patrice Rushen,Trilok Gurtu,Richard Bona; Airto, DoriCaymmi,DianneReeves, Hancock, StanleyJordan, StevieWonder, Farrell, DizzyGillespie,LarryCoryell,Herbie John McLaughlin,BuddyMontgomery, Joe Patti, Karen Blixt;performed/recorded with Mary Jenson,MollyHolm,Deuce, Tuck & Quartet, JoeyDeFrancesco,MimiFox, arranger for Al Jarreau, Turtle Island String James Taylor, EltonJohn;Record producer/ Carnegie HallappearanceswithSting, Walden, PattiAustin,AngelaBofill; Music Director forNaradaMichael (Adjunct Professor, part-time) Frank Martin/Piano,Keyboards jasonlevismusic.com performance experience. has extensivenationalandinternational both artandpopularmusicsettings is anactiveperformeronthedrumsetin bridging amultitudeofmusicalstyles.He and released overtwo-dozenrecords, posed andarrangedfor, performedin, these avenueshehasproduced, com- Orchestra, andmanymore. Through Ensemble; mostrecently theBerlinBoom Joseph’s Bones;theEchoChamber Couple; DRY; livedub-reggae ensemble Chamber Ensemble;duoB.;Married Germany. TheseincludetheHeftpistole the SanFranciscoBayArea andBerlin, vised music,andchamberensemblesin a collaboratorinnumerous jazz,impro- composer JasonLevishasledandbeen Festival finalist(Berlin),drummerand Instructor (UCBerkeley);Interaktion winner; OutstandingGraduateStudent award recipient; EisnerPrizeforMusic University. Two-time MeettheComposer UC Berkeley;B.A.inMusic,Naropa Ph.D. andM.A.inComposition, (Full Professor, part-time) Jason Levis/Drums,Composition laney.peralta.edu. studied withJohnCage. and withDonMenza,BillWatrous; performed attheMonterey JazzFestival Director, LaneySummerMusicProgram; Laney CollegeMusicDepartment; Lifetime Teaching Credential; Chairman, Bay; BAinMusic,UCDavis.California MA inTrumpet Performance,CSUEast (Full Professor, full-time) Jay W. Lehmann/T Jan Garbarek andmanyothers. Jordan, MarkIsham,PaulMcCandless, Charlie Haden,KennyWheeler, Sheila Bobby Hutcherson,SteveSwallow, with JoeHenderson,Woody Shaw, drummer andeducator. Hasperformed internationally knownpianist,composer, Grammy-nominated recording artist, (V Art Lande/Piano isiting Professor, onoccasion) rumpet rumpet

67 67 california jazz conservatory 2016 – 2017 cjc.edu faculty

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california jazz conservatory 2016 – 2017 cjc.edu

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Banjo, V Paul Mehling/Guitar, T Diablo Valley College,andUCBerkeley. faculty member, LosMedanosCollege, Cary andGeorge Russell;part-time performed withDr. LonnieSmith,Marc The “Dynamic”Ms.FayeCarol; has Orchestra, TheMelMartinQuartet, regularly withMarcus ShelbyJazz The NewEnglandConservatory;works BA andMAinJazzPerformancefrom (Associate Professor, part-time) Jeff Marrs/Drums Improv Arts. Kenny Endo,FrancisWong andAsian Ho, DanonganKalanduyan,AkiraTana, and AsianAmericanartistsincludingFred Leo Smith,OmarSosa,andmanyAsian Orchestra, OliverLake,JamesNewton, and AnthonyBrown’s AsianAmerican and MarkIzu’s Circle ofFire, SteveLacy Coleman, JohnHandy, ZakirHussein Hieroglyphics Ensemble,Ornette with DonCherryandPeterApfelbaum’s and educator, Modirzadehhasworked international performing/recording artist cians inMorocco andAndalucia.An work withGnawanandFlamencomusi- and 2006FulbrightSeniorLecturer to and Dance.1989,‘91NEAJazzFellow, Program atSFState’s SchoolofMusic Since 1998,Professor ofWorld Cultures original “chromodal” approach tojazz. PhD, Wesleyan University (1992),forhis (Adjunct Professor, part-time) Hafez Modirzadeh/Theory, Saxophone Educators award-winner. HCSF.com. guitar; InternationalAssociationofJazz recordings andInstructionalDVDSfor (according toPBS)”;producer ofCD ist. “GodfatherofgypsyjazzinAmerica international touringandrecording art- Leader oftheHotClubSanFrancisco; (Associate Professor, part-time)

iolin, V

iola, Bass

enor & Plectrum enor &Plectrum

Brazil. Teacher andlecturer atCalifornia the US,Europe, Canada,Japanand others. Hasperformedthroughout the BerkeleyChoro Ensembleamong Côrtes, RogérioSouza,Terra Sul,and Santos Neto,Marcos Silva,Almir Guinga, Arturo Sandoval,Spok,Jovino Souza, Toots Thielemans, DoriCaymmi, Romão, Sivuca,ClaudioRoditi,Raulde Purim andAirto,BudShank,DomUm collaborated withClaudiaVillela, Flora US today. Recorded, performed,and sentatives ofBrazilianguitarinthe placing himamongthetoprepre- elements ofjazzandclassicalguitar, diverse traditionswhileincorporating sitional senseexplore Brazil’s richand fluid melodicstyleandkeencompo- with George Sakellariou.Ricardo’s the BayArea studiedclassicalguitar Gary BurtonandMickGoodrick.In and includingstudieswithPatMetheny, graduating withaB.M.inPerformance Berklee CollegeofMusicinBoston, came totheUSonscholarshipattend Originally from RiodeJaneiro, Brazil, (Associate Professor, part-time) Ricardo Peixoto/Guitar cjc.edu. of Directors, ChamberMusicAmerica. Association; former memberoftheBoard Team” Award from theJazzJournalists Jazz onNPR;recipient ofa2008“A featured onMarianMcPartland’s Piano Berkeley andConcord JazzFestivals; Hall andtheLighthouse,Monterey, Keystone Korner, Great AmericanMusic clubs andfestivalsincludingYoshi’s, recording artist;performancesatmajor gram 1984–89;composer, arrangerand Inc. Director, UCJazzEnsemblespro- President andDeanofInstruction,CJC, Composition, UCBerkeley. Founding of Évora,Portugal.BAinMusic PhD candidateinMusicology, University (Full Professor, part-time) Susan Muscarella /Piano

Brazil CampandJazzWest,

and hastaughtattheCalifornia

Jazz Conservatory(F.K.A the

Jazzschool) forthelast

several years.

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j a a r

c e i k

Joyce Pricco/V Giovani Hidalgo. Claudio Roditi,DudukadaFonsecaand Mark Turner, ChrisPotter, EddieGomez, Mehldau, EsperanzaSpalding,Fleurine, Roberto Fonseca,CachaítoLopez,Brad Mariano, DianneReeves,BobMintzer, Alf, LucianaSouza,CésarCamargo Danilo Caymmi,JoãoDonato,Johnny with RosaPassos,ChicoCésar, Doriand of theYear.” Performedandrecorded included inthe“Top 10 BrazilianAlbums arranger whoserecordings havebeen ern Brazilianmusic.Alsoacomposer/ and oneoftheleadingfigures inmod- awards. Internationalperformingartist Hal Crook andearnedseveralacademic legendary teachersMickGoodrickand Native ofSaoPaulo,Brazil,studiedwith College ofMusic(SummaCumLaude). BA inProfessional Musicfrom Berklee (V Chico Pinheiro /Guitar techniques. teach advancedrecording andmixing assist withcurriculumdevelopmentand Institute ofCalifornia,SanFrancisco,to 2011, hejoinedthefacultyatArt artists from hisnativeSwitzerland.In Mickey Hartandmanychart-topping Day, TheCountingCrows, Flipsyde, multi-platinum albumsincludingGreen and Engineering.Hehasbeenpartof where hefocusedonMusicProduction Berklee CollegeofMusicinBoston, earned aBachelorDegree inMusicfrom and theSanFranciscoBayArea. Reto dios inBoston,NewYork, Switzerland music for20yearsatprestigious stu- Soundengineerandmusicproducer (Full Professor, part-time) Reto Peter/AudioProduction Episcopal Church. director atSt.MichaelandAllAngels and BradleySchoolofMusic;music 1978; instructoratDiabloValley College the BayArea; privateinstructionsince musician, 20+yearsinvenuesthroughout Valley College.BayArea freelance Completion, MultimediaStudies,Diablo State University;Certificateof Music Education-Voice, SanFrancisco Boston University;BachelorofMusic, Master ofMusic.MusicEducation, (Associate Professor, part-time) isiting Professor, onoccasion) oice oice

Evan Price/V and others. Indiana University, Queens College University, UniversityofWashington, Stanford University, SouthernOregon Society InternationalConvention, University ofCampinas,Percussive Arts Cantareira College(SãoPaulo)and Collective inSeattle.ClinicianatOberlin, Seattle, andAfroCuban Folkloric and thefounderdirector ofSamba director oftheBerkeleyFestivalChoro Souza. Brianistheco-founderandartistic Côrtes, JoãoPauloAmaralandRogerio Alessandro Penezzi,Jorge Alabe,Almir Danilo Brito,DuduMaia,ChicoPinheiro, Clarice Assad,PauloSergio Santos, Marshall, JovinoSantosNeto,Spok, performed and/orrecorded withMike lecture atUCBerkeley. Brianhas performance labsfortheMusicofBrazil teaching SambaBateria,andteaches sion amongothers.Lecturer atUCDavis both BrazilianandAfro-Cuban percus- clinician, andrecording artistadeptat Acclaimed internationalperformer/ Oberlin ConservatoryofMusic. B.M. inPercussion andEthnomusicology, Department Co-chair, BrazilianJazzStudies (Associate Professor, part-time) Brian Rice/Percussion jackelinerago.com. Residence Grant. In Artist CAC Venezuelan MusicProject; awarded arranger, MusicDirector,educator; international performer, composer, Multi-instrumentalist, nationaland (Adjunct Professor, part-time) Afro-V Jackeline Rago/Cuatro, faculty atWellesley College. Orchestra. Formermemberofthemusic Chorus, andtheNewCenturyChamber Nashville, TheSanFranciscoGirls’ Irish fiddlerLizCarroll, Orchestra Francisco, Providence StringQuartet, HCSF, Turtle IslandQuartet,QuartetSan tionally. Composerandarrangerwith and performednationallyinterna- Francisco, whichhasreleased sixalbums, the gypsyjazzbandTheHotClubofSan and OdairAssad.Performingmemberof Billy Taylor andKennyBarron, andSergio Paquito D’Rivera,TheYing Quartet,Dr. internationally, andcollaboratedwith has released fivealbums,performed ensemble Turtle IslandQuartet,which two-time Grammy®-award-winning jazz Music. Performingmemberofthe of MusicandtheBerkleeCollege bands. AttendedTheClevelandInstitute dance bands,stringquartets,andblues A nativeofDetroit, MI.Rootsinsquare (Associate Professor, part-time) enezuelan Percussion iolin iolin

Music Festival.jimsantiowen.com. Director oftheSanFranciscoWorld School andiscurrently theMusical Dominican University, andLinesBallet Akbar CollegeofMusic,theCJC, among others.OnfacultyattheAli Gamelan SekarJaya,andJaiUttal Brooks, SteveSmith,Chitresh Das, el Din,MickeyHart,AlamKhan,George Pharoah Sanders,AlonzoKing,Hamza Ladzekpo Brothers. Performedwith African drumminganddancefrom the James Newton,andTootie Heath,and and K.Sekar. StudentofCharlieHaden, Chaudhuri, T.H. Subash Chandran, Indian percussion underPanditSwapan MA inWorld Music,CalArts.Trained in (Associate Professor, part-time) Jim SantiOwen/IndianPercussion Akbar CollegeofMusic. King. Currently onfacultyattheAli and renowned choreographer, Alonzo Grammy Award-winning artistBélaFleck, rated onmajorrecording projects with recorded severalsoloCDs,andcollabo- Canada, UnitedKingdomandIndia, Performed throughout theUnitedStates, ing ontheSeniAllaudinGharanastyle. maestro UstadAliAkbarKhanfocus- Benares Gharanastyle.Studentofsarod Rama ShankarMishra,specialistinthe disciple ofrenowned vocalistPandit poser. AnativeofAllahabad,India,the Performing artist,educatorandcom- (Adjunct Professor, part-time) Rita Sahai/V UC BerkeleyandChabotCollege. Mickey Roker;faculty, BrubeckInstitute, Hart, LarryWillis,George Colemanand John Hicks,MikeClark,JackWilkins,Billy Connor, Tom Harrell, EddieHenderson, Benny Green, DakotaStaton,Chris Hendricks, DaveLiebman,ChetBaker, performed withBobbyHutcherson,Jon Williams, George MrazandMikeLongo; JCMS BassProgram; studentofBuster College ofMusic(2yrs).Advisor, Mannes SchoolofMusic(1yr);Berklee (Associate Professor, part-time) Glenn Richman/Bass oice oice

Top 10 runs onjazzradio. Boston Pops.Last twoCDshadlong Monterey JazzFestival;guestsolist, (Seattle), BluesAlley(DC),SFJazz Festival, Jazz atLincolnCenter(NYC), Alley liner, BlueNote(NYC),Yoshi’s (SF), composer andrecording artist;head- Clinician, BrubeckInstitute;performer, Faculty, Stanford JazzWorkshop; U., magnacumlaude,PhiBetaKappa. in MathematicsandPhilosophy, Harvard National ScienceFoundationFellow;BA MS inComputerScience,Stanford U.; (V Anton Schwartz/axophone pursuancerecords.com. education foryoungmusicians. as partofhismissiontoimprove music and specialeventsthroughout thecountry York, andcontinuestoconductworkshops in theSanFranciscoBayArea andNew he isalsoactivelyinvolvedincommunities Founder andCEOofPursuanceRecords, the NorthSeaJazzFestival(CapeTown). (Germany), RedSeaFestival(Israel),and New Morning(Paris),TheConcertgebow Hall (NY),DaviesSymphony(SF),The Note, TheVillage Vanguard, Carnegie others. HehasperformedatTheBlue Jazz Orchestra, IrvinMayfieldamong Lincoln, SFSymphony, LincolnCenter Benson, PhilLesh&Friends,Abbey artists includingWyntonMarsalis,George has performedandrecorded withmajor drummer andpercussionist JazSawyer Music Program. ASanFrancisconative, BFA, MannesJazz&Contemporary MPA, Metropolitan CollegeofNewYork; (V Jaz Sawyer/Drums,Percussion acclaimed JohnSantosSextet. Camp West, anddirector ofthehighly faculty oftheCollegeSanMateo,Jazz Europe andLatinAmerica.Currently on Brigham Young U.,aswell asthroughout U., SFStateHumboldtand Cruz, UCMonterey Bay, SanJoseState U., UCBerkeley, UCSacramento,Santa State, U.ofWisconsinatMadison,Dillard Yale, UCLA,WhittierCollege,Michigan residencies attheBerkleeSchoolofMusic, Mark Murphy. Lectured and/oroffered de ClaveyGuaguancó,JohnFaddis,and Aguabella, ArmandoPeraza,ElConjunto Club, Batacumbele,Lázaro Ros,Francisco of Jazz,OmarSosa,BuenaVista Social Schifrin, JamesMoody, TheLatinGiants Steve Turre, BobbyHutcherson,Lalo Eddie Palmieri,MaxRoach,McCoyTyner, Cachao, Gillespie, TitoPuente,Santana, performed and/orrecorded with Dizzy The MacheteEnsemble,1985–2006; Grammy nominee(5);FounderandDirector, recording artist,writerandhistorian.Multi Percussionist, producer, composer, (Associate Professor, part-time) John Santos/Percussion isiting Professor, onoccasion) isiting Professor, onoccasion)

69 california jazz conservatory 2016 – 2017 cjc.edu faculty 70 california jazz conservatory 2016 – 2017 cjc.edu faculty and (occasional)banjoist. (2009) andBazMe(2010);Pianist theatre, includingLeavittsburg, OH ping; Composerandlyricistinmusical on urbangeographyandmusical map- Alley andJewishmusic,withemphasis University; Research onjazz,TinPan candidate inMusicHistory, Stanford BA inMusic,Brown University;PhD (V Nate Sloan/Piano,Banjo Mr. SimonisaYamaha Artist. David SanchezandNicholasPayton. Miles ensembleleadbyStefonHarris, and iscurrently amemberoftheNinety member ofSFJazzCollectivesince2010 Jazz Education(1999,2004),hasbeena from theInternationalAssociationfor Outstanding ServicetoJazzEducation the CertificateofAppreciation for around theworld.Hehastwiceearned music conservatoriesanduniversities taught masterclassesandclinicsat Music inNewYork. Mr. Simonhas New SchoolforJazzandContemporary teaches pianoandimprovisation atthe University oftheArtsandcurrently the CityCollegeofNewYork andthe for JazzandContemporaryMusic, served onthefacultyatNewSchool performing artistandeducator. Hehas and GuggenheimFellow, international Pianist Edward SimonisaMcDowell (Associate Professor, part-time) Edward Simon/Piano Marcos SilvaandIntersection. Danilo Caymmi,EduLobo,Joyce;leader, Silveira, DoriCaymmi,Nana Paquito D’Rivera,BudShank,Ricardo for FloraPurim,Airto,Toninho Horta, Music Director, arranger, keyboards Montarroyos, JonLucien,ClaudioRoditi; Leny Andrade,EmilioSantiago,Marcio producer, educator;performedwith and recording artist,composer, arranger, National andinternationalperforming Department Co-chair, BrazilianJazzStudies (Associate Professor, part-time) Marcos Silva/Piano Scott JazzQuartet.davescott.org. founder ofTrumpet Supergroup, Dave Change Band,BrassMonkeyBand; with BozScaggs,GlideMemorialChurch Marcus ShelbyJazzOrchestra; performs Jazz Orchestra, TheRealisticOrchestra, idioms; leadtrumpet,Contemporary ing andrecording artist,jazz,classical Music, U.ofMichigan.Nationalperform- Northern Colorado;BAinInstrumental MA inTrumpet Performance,U.of (Adjunct Professor, part-time) Dave Scott/T isiting Professor, onoccasion) rumpet rumpet

Howard Swain.fantabulousink.com Arts, SeydwaysActingStudioandJohn Francisco AcademyforThePerforming vocal andactingtrainingwithSan of theInternationalThespianSociety; award recipient andhonorarymember jazz andworldmusicrecording artist; Publicity Director, PatoisRecords; Latin Manager, JazzschoolInc.;Marketingand Musical Theater. DigitalMarketing Francisco StateU.withemphasison Sail University;BAinDramafrom San MS inEntertainmentBusiness,Full (Associate Professor, part-time) Business ofMusic—Marketing Sheryl L www.akiratana.com. Drums andVic FirthSticks. country sponsored inpartbyYamaha clinics andmasterclassesthroughout the San FranciscoStateUniversity. Conducts Van DykeParks.Teaches privatelyandat Charles Aznavour, MauriceHinesand has accompanieddiverseartistssuchas Seiji OzawaandGuntherSchuller under thedirection ofLeonard Bernstein, Performed attheTanglewood Festival The ManhattanTransfer, amongothers. Moody, J.J.Johnson,LenaHorne,and Winter Consort,PaquitoD’Rivera,James Jackson, JimHall,ArtFarmer, ThePaul Sonny Stitt,ZootSims,HubertLaws,Milt Performed withjazzgreats SonnyRollins, Studies, Harvard University, 1974. Conservatory, 1979;BAinEastAsian BM inPercussion, NewEngland (Adjunct Professor, part-time) Akira T Pete Christlieb.johnstowell.com. Liebman, BillyHart,DonThompsonand Milt Jackson,LionelHampton,Dave Performance credits includePaulHorn, as aleader, twelveasaco-leader. Canadian Musician,etc.),tenCDs columnist (GuitarPlayer, DownBeat, (Mel BayandTruefire), contributing the PacificNorthwest,publishedauthor adjunct facultyatnumerous collegesin teaching andplayinginternationally, Thirty yearsoffreelance experience (V John Stowell/Guitar isiting Professor, onoccasion) ana /Drums homas / ynn Thomas/

among others. workshops, ensembles,masterclasses, Stanley MiddleSchool,privatelessons, Lafayette SummerMusicWorkshop, California BrazilCamp,JazzCampWest, Helsinki MusicCentre inFinland, Instrumental deTeresina inBrazil, others. HastaughtatFestival Cressman, andTulio Araujo,among Harvey Wainapel, Jeff Cressman, Sandy Claudia Villela, FrankMartin,Jeff Buenz, Levine, IanFaquini,PaulaSantoro, Rafael Barata,Vitor Gonçalves,Mark Thiago Rabello,MauricioZottarelli, Costa, DaniGurgel, DeborahGurgel, Jovino SantosNeto,RafaelVernet, Tiago London (AmericanIdol),Spok,Oakadelic, Toninho Horta,UrbanPunk, Latoya (Saturday NightLive),Marcos Silva, Too $hort,KikoFreitas, AnaGasteyer Helio Alves,ThomasPridgen,E-40, of Mischief,CesarCarmagoMariano, Chico Pinheiro, TheHieroglyphics, Souls artist. Hasperformed/recorded with international performingandrecording Conservatory inprogress. Nationaland B.M. InJazzStudies,California (Instructor, part-time) Scott Thompson/Bass teaches privately. California andNevada.Thompsonalso groups of200-300atpublicschoolsin conducted percussion workshopswith the CaliforniaCouncilofArts,hehas Brazil Camp.Arecipient ofagrantfrom of Stanford JazzWorkshop andCalifornia Opera House.Hasservedonthefaculty val, DaviesSymphonyHallandtheS.F. Jose JazzFestival,Monterey Jazzfesti- Masonic Auditorium,TheFillmore, San Kimball’s East,ZellerbachHall,SFJAZZ, Yoshi’s, TheStanford JazzWorkshop, concert venuesandfestivalsinclude Ricardo Peixotoamongothers.Major Leny Andrade,Kenia,ClaudiaVillela and Jovino SantosNeto,ZeLuis,vocalist Dori Caymmi,ChicoPinheiro, Airto, including Marcos Silva,Toninho Horta, has performedwithBrazilianmasters Veteran BraziliandrummerThompson (Instructor, part-time) Phil Thompson/Drums Mads T College ofMusic. Currently onfacultyattheAliAkbar Castle inPrague,CzechRepublic. New SchoolinYork CityandPrague Nations inGeneva,Switzerland,the US andEurope includingtheUnited Foundation. Performedthroughout the Fellowship from theSanFrancisco Recipient oftheprestigious Shenson sarod maestro UstadAliAkbarKhan. University ofCalifornia.Astudent music learningtechniques,Dominican BA inPsychologywithathesis (Associate Professor, part-time) Arjun V over fiveyears. group andprivatelessonsettingsfor taught vibraphoneanddrumsinboth Lewis, DavidFlores andAlanHall.Has studied withChristianTamburr, Jason and theSantaClaraVanguard. Has Tolling aswellinvarious musicals Erik Jekabson,MikeZilberandMads Alan Hall,PaulHanson,JohnGove, Shelby JazzOrchestra, Jeff Denson, formed withArtLande,TheMarcus Conservatory (inprogress). Hasper B.M. inJazzStudies,California (Instructor, part-time) Dillon V Leo KottkeandRussellFerrante. Stefon Harris,Sergio &OdairAssad, d’Rivera, KennyBarron, JoeLovano, Award. HehasperformedwithPaquito Foundation andtheBerkleeElvinJones from QueenMargaret, theSonning for MusicalExcellenceaswellgrants received Denmark’s SanktAnnae’s Award Legacy ofJohnColtrane.”Tolling has “4+Four” and“ALoveSupreme —The Crossover albumwiththerecordings two Grammyawards forBestClassical of Turtle IslandQuartet,Madswon his touringband.In06and08aspart acclaimed bassistStanleyClarkeand classes. Tours asjazzviolinistwiththe as wellcomposingandgivingmaster active touringandrecording schedule ist, 2007–present, Madsmaintainsan 2003 –2007andnowasfirstviolin- Quartet. Asviolistwiththequartet, award-winner withtheTurtle Island and composer. Two-time Grammy Internationally renowned violinist,violist, (Associate Professor, part-time) olling /V itar erma /Sitar ado /V rums ibraphone /Drums iolin, V

iola iola

- Concerts. Seattle. Co-producer, FlorioStreet BA inMusicHistory, U.ofWashington, Lone MountainCollege,SanFrancisco; Germany; MAinOrgan Performance, Norddeutsche Orgelakademie, Bremen, Post-graduate studiesinEarlyMusic, (Associate Professor, part-time) Katherine Westine /Piano albums asaleader. Villela. Produced andrecorded five da Fonseca,Marcos SilvaandClaudia with BrazilianartistssuchasDuduka in theU.S.Recorded andperformed presence ontheBrazilianmusicscene Lovano andRayCharles.Aregular drummer BillyHart.Toured withJoe tenor saxophonistJoeHendersonand pianists KennyBarron andMcCoyTyner, College ofMusic.Performedwithjazz performing artist.StudiedatBerklee National andinternationalrecording/ (V Harvey Wainapel /Saxophone on PatoisRecords. the VWBrothers nametitled“Muziek” Marc hasadebutrecording outunder Show, ButCanTheySingandTheOne. band memberforTheWayne Brady Trull andBarbaraHigby. Servedashouse Tillery, CorneliusBumpusandTeresa Pete Escovedo,RayObiedo,Linda Sheila E.,Tom Grant,David Garibaldi, others. Recorded withSteveWinwood, and theE.Train andAndyNarell among Pete Escovedo,EddieMarshall,SheilaE. Getz,George Duke,FranciscoAquabella, Ellis/Maceo Parker, SteveSmith,Stan Diane Reeves,Tower of Power, PeeWee funk, Latinandjazz.Performedwith ist andrecording artistspecializingin San FranciscoBayArea electricbass- (Associate Professor, part-time) Marc vanWageningen /ElectricBass music onaregular basis. Camp andteachesworkshopsinBrazilian served onthefacultyofCaliforniaBrazil American poemstomusic.Villela has commission from NYUtosetLatin In 2008,shereceived aprestigious percussion, Villela hasreleased 5albums. specialist invoice,pianoandBrazilian and Ricardo Peixotoamongothers.A Moreira, CarlosMalta,Romero Lubambo Horta, Guinga,DoriCaymmi,Airto Thielemans ,KennyWerner, Toninho recorded withMichaelBrecker, Toots arranger whohasperformedand winning singer/songwriter/improviser/ A nativeofRiodeJaneiro, anaward- Conservatory ofMusic,RiodeJaneiro. B.A. inMusicTherapy, Brazilian (Instructor, part-time) Claudia V isiting Professor, onoccasion) illela /V oice oice

Institute. dannzinn.com. CSUEB, UCB,andBrubeck Frank Harris,BarryFinnerty. Faculty Eshelman, Jeff Tain Watts, MaryWells, Recorded withJoeHenderson,Dave Featured onover40CDs.Performed/ Recipient. LeaderDannZinnBand. 3-time NFAA OutstandingTeacher BA MusicPerformanceCSUEB,UCLA (Associate Professor, part-time) Dann Zinn/Saxophone,Flute Barth. michaelzilber.com. Barry Finnerty, SteveSmithandBruce James Genus,NaradaMichaelWalden, John Handy, DaveDouglas,RachelZ, Haque, Geoffrey Keezer, DonaldHarrison, Bob Berg, EddieHenderson,Fareed Sonny Stitt,DaveLiebman,Miroslav Vitous, cator; performedwithDizzyGillespie, recording artist,composer, arranger, edu- National andinternationalperforming Composition, Newngland Conservatory. Composition, Tufts U.;BMus.in PhD inComposition,NYU;MM (Full Professor, part-time) Michael Zilber/Saxophone in therecording studio. Okazaki, examiningthecreative process film byAcademy Award-winner Steven imately NelsCline,”anationallyreleased others. Hasalsoco-produced “Approx– Luka Bloom,PenelopeHouston,among with artistsincludingtheHousemartins, in studiosthroughout theUSandEurope Has produced musicinelevenlanguages Reprise, Virgin, ChrysalisandPolygram. for labelsincludingWarner Brothers, consultant forover25years.Hasworked producer, engineer, composer, andlabel in Berkeley, CA.Internationalmusic of Illinois.StudioDirector, FantasyStudios BA inPsychologyandBusiness,University (Full Professor, part-time) Jeffrey Wood /Chair, Audio Production ma rc o s si lv a

71 california jazz conservatory 2016 – 2017 cjc.edu faculty 72 california jazz conservatory 2016 – 2017 cjc.edu faculty Brian Rice—[email protected] Jackeline Rago—[email protected] PERCUSSION Phil Thompson—[email protected] Akira Tana —[email protected] Jeff Marrs—[email protected] Jason Lewis—[email protected] Jason Levis—[email protected] Lorca Hart–[email protected] Alan Hall—[email protected] hamirdrums.com Hamir Atwal—[email protected] Jon Arkin—[email protected] DRUMS John Wiitala— Marc vanWageningen — Scott Thompson— John Shifflett—[email protected] Glenn Richman—[email protected] Seward McCain—[email protected] Kai Eckhardt —[email protected] Jeff Denson—[email protected] Jeff Chambers—[email protected] Gary Brown — David Belove—[email protected] Peter Barshay—[email protected] BASS Note: PrivateInstructionfacultymustbeapproved bytheDeanofInstructioninadvance. Students mayselectaprivateinstructorfrom thefollowinglistofApproved PrivateInstructionFaculty. PRIVATE INSTRUCTIONF CALIFORNIA JAZZONSERVATORY brianrice.com jackelinerago.com akiratana.com jeffmarrsdrums.com jazzdrumming.com jonarkin.net [email protected] vwbrothers.com [email protected] [email protected] johnshifflett.com glennrichman.com sewardmccain.com kaizone.com jeffdenson.com jeffchambersjazz.com [email protected] peterbarshay.com aculty Katherine Westine —[email protected] PIANO —WESTERNEUROPEA Ben Stolorow —[email protected] Edward Simon—[email protected] Marcos Silva—[email protected] Susan Muscarella —[email protected] Frank Martin—[email protected] Grant Levin— Bob Karty—[email protected] Peter Horvath—[email protected] Alex Conde—[email protected] Matt Clark—[email protected] PIANO —JAZZ Jackeline Rago—[email protected] CUATRO Randy Vincent —[email protected] —[email protected] Mehling Paul Jeff Massanari—[email protected] Mimi Fox—[email protected] Steve Erquiaga —[email protected] Danny Caron —[email protected] GUITAR katastrophemusic.com CLASSIAL benstolorow.com edwardsimon.com marcossilva.com cjc.edu frankmartinproductions.com grantlevin.com [email protected] bobkarty.com peterhorvath.com alexconde.com jackelinerago.com randyvincent.com HCSF.com jeffmassanari.com mimifoxjazzguitar.com erquiaga.com dannycaron.com

Joyce Pricco—[email protected] Raz Kennedy—[email protected] Sandy Cressman —[email protected] Andrea Claburn—[email protected] Maye Cavallaro — Laurie Antonioli—[email protected] VOICE Mads Tolling —[email protected] Evan Price—[email protected] Jeremy Cohen—[email protected] VIOLIN Tony Miceli—[email protected] VIBRAPHONE Dave Scott—[email protected] Erik Jekabson—[email protected] TRUMPET John Gove—[email protected] Rob Ewing—[email protected] Doug Beavers—[email protected] TROMBONE Dann Zinn—[email protected] Michael Zilber—[email protected] Kasey Knudsen—[email protected] Paul Hanson–paulhansonmusic.com SAXOPHONE cressmanmusic.com andreaclaburn.com mzjazz.com [email protected] laurieantonioli.com madstolling.com hcsf.com violinjazz.com vibesworkshop.com davescott.org jekabson.tripod.com robewingmusic.com dougbeavers.com dannzinn.com michaelzilber.com kaseyknudsen.com

CJC STAFF & BOARD Erika Oba Program Coordinator

Alejandra Carrasco-Zanini, Britt Ciampa, PROGRAM STAFF Eli Goldlink, Aaron Hipschman, Zachary Mondlick Operations Staff Susan Muscarella President and Dean of Instruction, Lee Brenkman California Jazz Conservatory (CJC) Sound Technician

Rob Ewing Robert Soper Director, Piano Technician Jazzschool Community Music School Poulson Gluck Design Laurie Antonioli Graphic Design Chair, CJC Vocal Program Kristine Seinsch Director, Jazzschool Community Music School & board staff Vocal Program Proprietor, Jazzcaffè

Erik Jekabson Director, Jazzschool Young Musicians Program

ADMINSTRATIVE STAFF CJC Board of Directors

Dean Muench Susan Brand (Director and Chairman of the Board) Director of Operations Ed.D. Clinical Psychologist

Bill Aron Clifford Brown, Jr. (Director) Business Manager President, Brown Radio and Audio Solutions

Jesse Rimler Charles Charnas (Director) Registrar and Custodian of Records, CJC Former Vice President, Associate General Counsel, Corporate Law, and Assistant Secretary at Karen Shepherd Hewlett-Packard Company and Apple Inc. Financial Aid Consultant James Ellis (Director) Scott Latham Branch Manager, Recruiting Director, Japan University Branch Center, Wells Fargo

Keiko Shinozaki Jerry Fiddler (Director) Administrative Assistant, Japan Principal, Zygote Ventures; Chairman, Solazyme

Mary D’Orazi Rita Hargrave, M.D. (Director) Development Associate Geriatric Psychiatry cjc.edu Lauren Adams Tyler Johnston Development Consultant (Director and Vice Chairman of the Board) Executive Vice President, Marketing, Sheryl Lynn Thomas Dreyer’s Grand Ice Cream, Inc., retired Marketing Director Bertram Lubin, M.D. (Director) Max Brody President and Chief Executive Officer, Marketing Assistant Children’s Hospital, Oakland Research Institute

Hollis Ashby Richard A. Lyons (Director, Secretary) Communications Consultant Partner, Wendel, Rosen, Black & Dean, LLP, Joshua Birch Attorneys at Law Data Manager; Systems Administrator – 2017 2016 jazz conservatory california

73 Susan Muscarella (Director) BOARD EMERITI Founding President and Dean of Instruction, CJC, Inc. Denny Abrams (Director) Gregg Perloff (Director) Partner, Abrams-Millikan Design Construction Founder and CEO Development, Emeritus Another Planet Entertainment Sherie Friedlander (Director) Jim Reynolds (Director) Sherie Friedlander Insurance Agency, Emeritus Roastmaster emeritus at Peet’s Coffee and Tea; Past president, Pacific Coast Coffee Association Sy Grossman (Director, Assistant Secretary) Chief of Gastroenterology, Neil Rudolph (Director and Treasurer of the Board) Oakland Kaiser Permanente, retired, Emeritus Founding Partner, Symphony Asset Management LLC (Retired); Director and Treasurer of the Marin Vaughan Johnson (Director) Agricultural Land Trust M.A.T., M.D., F.A.C.S., Emeritus James J. Keefe (Director)

staff & board staff M. David Sherrill (Director) CFA, CFP, Morgan Stanley Smith Barney, President and Owner, New York, NY BCC Corporation, Emeritus

Kevin Whitman (Director) Larry Marcus (Director) President and CEO of Whitman Development Managing Director, Company and Whitman Capital Walden Venture Capital, Emeritus

Michael Yovino-Young (Director) Ernie Mieger (Director) General Certified Real Estate Appraiser Real Estate Operative, Emeritus

Michael Zaninovich (Director) Amy Orton (Director and CFO) Vice President/Senior Investment Manager Attorney at Law, Emeritus Wells Fargo John Papini (Director) Real Estate Investor, Emeritus

Walter Riley (Director) Attorney at Law, Emeritus

Advisory Board Danny Scher (Director) President, Dansun Productions, Vice-President Bill Graham Presents, Tom Carr retired, Emeritus Carole Davis Paula Forney Benny Green Charles Hamilton Richard Hindman

cjc.edu Stacey Hoffman Mark Levine Jason Olaine Patricia Phillips CATALOG PRODUCTION David Ring Jayne Sanchez Design: Poulson Gluck Design Chuck Sher Photography: James Knox / Cover; Grason Littles, James Knox, Merrilee Trost Chris Hardy / Interior photos; Wayne Wallace Centerspread photo of Giulio Xavier Cetto Peter Williams Photo Research: Sheryl Lynn Thomas – 2017 2016 jazz conservatory california

74 APPLICATION FOR ADMISSION

You may also fill out an application form online at cjc.edu/apply 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

Personal Information application

First Name Middle Name Last Name date

Name, if different from above on other academic records:

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( )

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/ / – –

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 cjc.edu

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

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5. – 2017 2016 jazz conservatory california

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7. 75 Resume

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

achievements

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5.

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Extracurricular Activities description d DATES

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Other Interests

demographic information

The CJC is required by state, federal and accrediting agencies to collect and report the following demographic information. Your answers to the questions below will be used for reporting purposes only.

ethnicity:

hispanic or latino not hispanic or latino

race: cjc.edu black / african american american indian / alaska native american indian / alaska native

asian pacific islander

gender:

male female other prefer not to say

Personal Statement

Tell us about yourself, your music, future aspirations and objectives in pursuing a Bachelor of Music degree in Jazz

– 2017 2016 jazz conservatory california Studies at the CJC. Please submit approximately 1,000 words in Times New Roman, 12-point font. (please attach)

76 Driving Directions

From San Francisco: UNIVERSITY AVE Take the Bay Bridge to 1-80 East towards Berkeley/Sacramento. Take the University CJC Avenue exit. Go east (towards the hills) 2 miles to ADDISON STREET Shattuck 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: Highway ALLSTON 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 KITTREDGE 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 CALIFORNIA JAZZ CONSERVATORY Addison Street. Turn right on Addison Street. 2087 Addison Street • Berkeley, California 94704 The CJC is immediately on your right. 510.845.5373 • cjc.edu

Bay Area Rapid Transit — BART

The CJC is located less then a block from the Downtown Berkeley BART station. Please visit BART.gov for specific 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 wheel- chair accessible and can transport bicycles. Please visit 511, actransit.org for specific train information.

Bus lines: F, FS, 800, 1Lx, 52L, 1R, 51S, 7, 9, 15, 18, 19, 51, 65, 67, 79, 604, 605, 851. The William E. Robinson Foundation “Jazz has been the voice of freedom for millions of people for over a century. And jazz, without a doubt, defines cultural diplomacy. Jazz is a distinct American art form, yet is a potent and persua- sive universal and versatile lan- guage that has both incorporated and influenced global music.

Jazz values diversity, encourages ethical and honest behavior, doesn’t shy away from vulnera­bility, promotes nnovative ideas, and insists one take responsibility for one’s actions. Jazz inspires inner reflection as well as communal participation, and jazz has an engaging appeal. There’s an element of the unknown in the music that mirrors real life — so it’s never boring because the unexpected is just around the corner. The music creates and alleviates tension, and when performed live, jazz positively responds to its audience.

Using intercultural dialogue 2087 Addison Street to encourage and improve Berkeley CA 94704 our communal existence, jazz 510 845-5373 phone musicians have always played 510 841-5373 fax an integral role, and continue email: [email protected] to be beacons in the storm, cjc.edu uplifting the human spirit.”

— Jazz pianist and 2014 Norton Lecturer Herbie Hancock on “Cultural Diplomacy and the Voice of Freedom” at the Mahindra Humanities Center at Harvard University February 27, 2014