BERKELEY

GENERAL CATALOG 2019–2020 / EDITION19.1 ACADEMIC CALENDAR 2019–2020

Spring Semester 2019

Auditions for Spring 2019 By Appointment Academic and Administrative Holiday Jan 21 First Day of Spring Instruction Jan 22 Last Day to Add / Drop a Class Feb 5 Academic and Administrative Holiday Feb 18 Spring Recess Mar 25 – 31 Last Day of Instruction May 10 Final Examinations and Juries May 13 – 17 Commencement May 19 Fall Enrollment Deposit Due on or before June 1 Fall Registration Jul 29 – Aug 2

Fall Semester 2019

Auditions for Fall 2019 By May 15 New Student Orientation Aug 15 First Day of Fall Instruction Aug 19 Last Day to Add/Drop a Class Sep 1 Academic and Administrative Holiday Sep 2 Academic and Administrative Holiday Nov 25 – Dec 1 Spring 2020 Enrollment Deposit Dec 2 Last Day of Instruction Dec 7 Final Examinations and Juries Dec 9 – 13 Winter Recess Dec 16 – Jan 21, 2020 Spring Registration Jan 6 – 10, 2020

Spring Semester 2020

Auditions for Spring 2020 By Oct 15 First Day of Spring Instruction Jan 21 Last Day to Add / Drop a Class Feb 3 Academic and Administrative Holiday Feb 17 Spring Recess Mar 23 – 27 Last Day of Instruction May 8 Final Examinations and Juries May 11 – 15 Commencement May 17 Fall 2020 Enrollment Deposit Due on or before June 1 Fall 2020 Registration July 27 – 31

Please note: Edition 19.1 of the CJC 2019 – 2020 General Catalog covers the time period of July 1, 2019 – June 30, 2020.

B 1 CONTENTS

ACADEMIC CALENDAR ...... Inside Front Cover The Bachelor of Music Degree in Jazz Studies Juries ...... 25 ABOUT THE CALIFORNIA JAZZ CONSERVATORY Senior Project ...... 25 Message from the President ...... 2 Performance ...... 25 History and Programs ...... 3 Core Courses: Instrumental Track ...... 26 Vision, Mission, Goals & Objectives ...... 4 Core Courses: Vocal Track ...... 26 State Licensure ...... 6 Elective Courses ...... 26 Accreditation ...... 6 General Studies Courses ...... 26 Questions or Complaints ...... 6 Independent Study ...... 27 Facilities and Student Services ...... 6 Keyboard Proficiency ...... 27 Library ...... 6 Workshops and Master Classes ...... 27 Record-Keeping ...... 7 Berkeley City College ...... 7 The Associate of Arts Degree in Jazz Studies Curriculum Requirements ...... 27 GENERAL INFORMATION Residency Requirements ...... 27 Admission Requirements ...... 8 Juries ...... 27 Auditions ...... 8 Performance ...... 28 Placement Examinations ...... 8 Core Courses: Instrumental Track ...... 28 Tuition and Supplemental Fees ...... 8 Core Courses: Vocal Track ...... 28 Private Instruction ...... 11 Elective Courses ...... 28 Scholarships and Prizes ...... 11 General Studies Courses ...... 28 Work Study ...... 11 Keyboard Proficiency ...... 28 Code of Academic Integrity ...... 11 Workshops and Master Classes ...... 28 Code of Conduct ...... 11 Policy on Sexual Harassment ...... 12 COURSE DESCRIPTIONS Academic Standing ...... 13 Course Numbering ...... 29 Academic Probation, Musicianship ...... 29 Suspension and Dismissal ...... 13 Theory ...... 32 Housing ...... 13 Harmony ...... 33 International Students ...... 13 Composition ...... 34 History ...... 35 FINANCIAL AID ...... 14 Private Instruction ...... 41 Instrumental Performance Ensembles ...... 41 POLICIES Vocal Performance ...... 46 Student Enrollment Agreement ...... 21 Music Technology ...... 46 Cancellations, Withdrawals and Refunds ...... 21 Audio Production ...... 47 Leaves of Absence ...... 21 Business of Music ...... 49 Attendance ...... 21 Senior Project ...... 49 Grading and Academic Penalties ...... 22 Department of General Studies ...... 50 Adding, Dropping and Withdrawing Curriculum Requirements Template ...... 56 from Courses ...... 22 Guide to Course Titles ...... 58 Challenge Examinations ...... 22 Credit for Prior Experiential Learning ...... 23 FACULTY ...... 61 Credit Hour Policies ...... 23 Transfer Credit ...... 23 PROGRAM, ADMINISTRATIVE STAFF, Notice Regarding Transferability of Credits ..... 24 AND BOARD OF DIRECTORS ...... 72 Student Grievances ...... 24 Student Right To Privacy ...... 24 ADVISORY BOARD ...... 73 Injury Prevention ...... 24 APPLICATION FOR ADMISSION ...... 74 DEGREE PROGRAMS The Bachelor of Music Degree in Jazz Studies DIRECTIONS TO THE CJC ...... 76 Curriculum Requirements ...... 25 Residency Requirements ...... 25 B 1 A WARM WELCOME TO THE CALIFORNIA JAZZ CONSERVATORY!

On behalf of the California Jazz Conservatory family of faculty, students and staff, welcome!

The California Jazz Conservatory begins academic year 2019–20 with an exciting announcement: the appointment of internationally acclaimed bassist, vocalist, composer and educator Dr. Jeffrey Denson as the California Jazz Conservatory’s new Dean of Instruction. Dean Denson will officially take on his new title and role in August 2019. In addition to his duties as Dean, Dr. Denson will continue serving as Chair of the California Jazz Conservatory Bass Department, directing the Conservatory’s all-star “Blue Ensemble” and teaching an assortment of required and elective courses. I know he will make tremendous contributions to our students and the program. Welcome, Dean Denson!

The California Jazz Conservatory’s vision is to admit musicians and graduate artists. As an aspiring artist yourself, you have chosen a music conservatory with a faculty of experienced artists and academicians who value and encourage your unique artistic perspective and have a proven track record of transforming our students into the artists they strive to become.

The California Jazz Conservatory is gaining nationwide recognition as a hotbed for jazz education and perfor- mance, and our alumni are playing an important role in this distinction. We have also formed a new partnership with the iconic Monterey Jazz Festival, “The MJF-CJC Partnership for Excellence in Jazz Performance and Education,” providing us with unlimited opportunities to hear and interact with today’s leaders in jazz.

The California Jazz Conservatory campus is located in the heart of the vibrant Downtown Berkeley Arts District. Students are within walking distance of a number of the Bay Area’s preeminent arts organizations, including the UC Berkeley Art Museum and Pacific Film Archive, Cal Performances, the Freight and Salvage, and the Berkeley Rep and Aurora Theaters.

CJC students have easy access to affordable public transportation. Buses and BART are within half a block, connecting students to the Bay Area and beyond.

Finally — and perhaps most importantly — you will be attending the only independent accredited music conservatory in the country that is 100% devoted to jazz and related styles of music, and 100% devoted to you!

Choosing the California Jazz Conservatory will enable you to become the artist you aspire to become, in a program whose mission celebrates and promotes individual expression on all fronts. An exciting and productive semester awaits! Join us this year!

Yours in jazz,

Susan Muscarella, Ph.D. President

CALIFORNIA JAZZ CONSERVATORY 2087 Addison Street • Berkeley, California 94704 2 phone: 510.845.5373 • fax: 510.841.5373 3 cjc.edu THE CALIFORNIA JAZZ CONSERVATORY

HISTORY AND PROGRAMS

Founded in 2009, the California Jazz Conservatory The California Jazz Conservatory offers students: (CJC) is positioned as the only independent, • A synergistic, comprehensive jazz education accredited music conservatory in the country and performance program for today’s devoted solely to the study and performance of professional jazz instrumentalist and vocalist jazz and related styles of music. • Small classes taught by professional artists The CJC is located at 2087 and 2040 Addison and experienced educators in the field of Street in the heart of the Downtown Berkeley Arts jazz and related styles of music District. Part of the vibrant East Bay performing arts scene, the CJC is situated in close proximity to • Opportunities to study with preeminent the Berkeley Repertory and Aurora Theatres, The visiting artists and educators Freight & Salvage, the Berkeley Art Museum and Pacific Film Archive, and the world class perform- • Performance opportunities at prominent Bay ing arts presenter Cal Performances at the Univer- Area venues; workshop opportunities with sity of California, Berkeley. resident faculty and visiting artists

• Access to important networking opportunities The CJC offers instrumentalists and vocalists a two-year Associate of Arts in Jazz Studies and a • Easy access to the San Francisco Bay Area’s four-year Bachelor of Music degree in Jazz Studies. thriving arts scene via public transportation

The CJC holds its students accountable to the The California Jazz Conservatory is an Equal highest artistic, academic and ethical standards Opportunity Employer. It does not discriminate at all times. Students are evaluated on their in the admissions process or in the awarding performance in classes; juries; concerts; and of financial aid on the basis of race, religion, Senior Project, a final project synthesizing their sexual orientation, gender identity, national artistic and academic work over the course of origin, or disability. their chosen program of study.

2 3 ABOUT THE CJC

VISION VALUES The California Jazz Conservatory admits musicians • Excellence in Education and graduates artists. • High Ethical Standards MISSION The California Jazz Conservatory educates future • Historical and Cultural Heritage generations to sustain the jazz art form. Positioned • Diversity in All of its Forms as the only independent, accredited music conservatory in the country devoted solely to the • Collaborations study and performance of jazz and related styles of music from throughout the world, the California GOALS AND OBJECTIVES Jazz Conservatory provides a dynamic community The following five goals and corresponding of students, artists, educators, scholars and objectives serve to guide the CJC: audiences with a forum to study, perform, teach, research, appreciate and enjoy jazz and related 1. Promoting Excellence in Education styles of music from throughout the world. The CJC strives to promote excellence in music scholarship and performance by: Comprising two distinct education programs, the California Jazz Conservatory (CJC), a postsecond- • Establishing and maintaining the highest artistic ary degree-granting program, and the Jazzschool and academic standards and promoting a Community Music School (Jazzschool), a non- strong work ethic. degree-granting community education program, the institution honors the contributions of past • Providing an educational forum on par masters and promotes artistic innovation, bringing with nationally-ranked institutions offering together a diverse music community to develop programs in jazz studies. practical skills, acquire artistic sensibility, realize • Attracting and retaining a world-class creative potential and find artistic voice. faculty and inspired student body. • The California Jazz Conservatory • Providing a comprehensive curriculum and The CJC is dedicated to fostering the supportive environment to develop artistic development of the aspiring professional jazz sensibility and musicological insight relevant musician and building audiences to sustain the to the aspiring jazz professional and the jazz art form. With world-class teaching artists, the CJC integrates progressive education jazz enthusiast. programs with public performance opportunities • Providing a forum to exercise freedom of to prepare future generations for a fulfilling life expression both individually and as a member in jazz. of a group in the democratically-structured • The Jazzschool paradigm of the jazz ensemble. The Jazzschool is dedicated to fostering the • Maintaining a state-of-the-art, aesthetically development of the aspiring jazz musician of pleasing, one-stop-shopping-for-jazz facility, all ages and levels and builds audiences to housing classrooms, practice rooms, intimate sustain the jazz art form through a non-degree- performance space, book and record store, granting community education program, and cafè. integrating classes, short-term workshops, artists-in-residency, and public performance opportunities.

4 5 ABOUT THE CJC

2. Fostering High Ethical Standards • Seeking and embracing the cultural richness The CJC strives to foster high ethical of a diverse constituency of students, faculty, standards by: staff and greater music community.

• Providing an environment that promotes the • Implementing targeted community development of well-balanced, conscientious, outreach efforts and providing scholarship compassionate, forward-looking individuals opportunities to deserving students in who will contribute to a just society. need of financial assistance.

3. Honoring Historical and Cultural Heritage • Providing a nurturing environment for The CJC strives to honor the historical and students, teachers, scholars and artists cultural heritage of the jazz canon by: in the jazz field.

• Recognizing the historical and multicultural • Providing an inviting setting for family, origins of jazz. friends, and the greater music community to celebrate students’ accomplishments • Highlighting the prominent role the jazz and enjoy listening to jazz in its art form has played in shaping American many forms. history and culture. 5. Developing Collaborations • Offering curricula designed to inform and The CJC strives to build relationships develop an appreciation of the relationship and create collaborations with artistic between jazz and American culture and and educational constituencies by: the global jazz diaspora. • Providing access to local, national and 4. Nurturing Diversity in All of its Forms global perspectives and new and meaningful The CJC strives to create a diverse, educational and artistic resources. all-inclusive, close-knit community by: • Creating opportunities for student and  faculty exchanges with music education programs locally, nationally and internationally.

o be a jazz freedom fighter is to attempt to galvanize and energize T world-weary people into forms of organization with accountable leadership that promote critical exchange and broad reflection. The interplay of individuality and unity is not one of uniformity and unanimity imposed from above but rather of conflict among diverse groupings that reach a dynamic consensus subject to questioning and criticism. As with a soloist in a jazz quartet, quintet or band, individuality is promoted in order to sustain and increase the creative tension with the group — a tension that yields higher levels of performance to achieve the aim of the collective project.

— Cornel West, “Race Matters”

4 5 ABOUT THE CJC

State Licensure As a prospective student, you are encouraged to review The California Jazz Conservatory is a private institution this catalog prior to signing an enrollment agreement. approved to operate by the Bureau of Private Postsec- You are also encouraged to review the School Perfor- ondary Education in the State of California as set forth in mance Fact Sheet, which must be provided to you prior the California Private Postsecondary Education Act of to signing an enrollment agreement. 2009 (CEC) and Title 5, Division 7.5 of the California Code of Regulations (CCR). The Act is administered by Facilities and Student Services the Bureau for Private Postsecondary­ Education, under The California Jazz Conservatory is housed in two the Department of Consumer Affairs. Bureau approval buildings located almost directly across from one another means the institution is in compliance with and meets the on Addison Street in the Downtown Berkeley Arts District. minimum standards pursuant to the California Private Postsecondary Education Act of 2009. At 2087 Addison Street, students have access to fully equipped classrooms (each with pianos, drum sets, Bankruptcy Disclosure: the CJC has never filed a amplifiers and sound systems), practice rooms, a bankruptcy petition, operated as a debtor in possession, bookstore and an intimate performance space. The or had a bankruptcy petition filed against it. Jazzcaffè serves an assortment of panini, soups, salads, sweet breads and espresso drinks. Accreditation The California Jazz Conservatory is an accredited At 2040 Addison Street, our new campus expansion, institutional member of the National Association of students have access to additional classrooms, practice Schools of Music (NASM). NASM is recognized by the rooms, a listening library, a 100-seat performance space United States Department of Education. and cafè, Jazzcaffè 2040.

“NASM, founded in 1924, is an organization of schools, All CJC class sessions are held at 2087 and 2040 Addison conservatories, colleges and universities with approxi- Street, Berkeley, California. mately 644 accredited institutional members. It estab- lishes national standards for undergraduate and graduate Library degrees and other credentials.” nasm.arts-accredit.org Students have access to three extensive music collections within walking distance of the CJC campus: the Jennifer A. Please note: This program does not lead to positions in a Maxwell Music Library at the California Jazz Conservatory, profession, occupation, trade, or career field requiring the Art and Music Department at the Berkeley Public licensure in the State of California. Library, and the Jean Gray Hargrove Music Library at the UC Berkeley Department of Music. Questions or Complaints Any questions a student may have regarding this catalog Jennifer A. Maxwell Music Library that have not been satisfactorily answered by the Established in February 2018, the Jennifer A. Maxwell institution may be directed to the Bureau for Private Music Library serves as the California Jazz Conservatory’s Postsecondary Education at: inaugural systematized music library. Holdings include a collection of approximately 9,000 of the world’s most Address iconic jazz recordings in LP format, along with hundreds 2535 Capitol Oaks Drive of hard copy books and periodicals on jazz and beyond. Suite 400, Sacramento, CA 95833 The California Jazz Conservatory aspires to house one P.O. Box 980818, West of the country’s leading archives for jazz and jazz-related Sacramento, CA 95798-0818 music. The Conservatory’s first-ever music library has been made possible through the generous support of Jennifer Web site address A. Maxwell. bppe.ca.gov The Art and Music Department at the Berkeley Telephone Public Library. The scope of the music collection at (888) 370-7589 or Fax: (916) 263-1897 the Art and Music Department runs from Albinoni to (916) 431-6959 or Fax: (916) 263-1897 Zouk — on compact disc, vinyl and score. The rich jazz collection ranges from reissues of vintage recordings to A student or any member of the public may file a contemporary offerings from the next generation of complaint about this institution with the Bureau jazz masters. Music from around the globe is available for Private Postsecondary Education by calling (888) in the audio collection in all formats. 370-7589 (toll-free) or by completing a complaint form, which can be obtained on the Bureau’s internet web site: bppe.ca.gov.

6 ABOUT THE CJC

The CD collection, started in September 1985, now Record Keeping includes over 14,000 titles. The Art and Music Depart- The California Jazz Conservatory Registrar and Custodian ment music collection also includes roughly 6,000 vinyl of Records maintains a secure file for each student that records. Classical, opera, jazz, world, and popular music contains pertinent information including but not limited are represented. Printed music scores, a range of music to: the Application for Admission; transcripts from the biographies and books on music theory and performance CJC and other institutions (including verification of high are readily available. school completion or the equivalency); documents evidencing a student’s prior experiential learning; class The Art and Music Department subscribes to over forty scheduling and registration; degree requirements and periodicals covering a variety of musical genres, specific progress reports; attendance; grading; documents instruments, and recorded sound. Their periodical relating to tuition, financial assistance and scholarships; collection also includes the impressive Greenwood Press records of the dates of enrollment, withdrawal, leaves of jazz periodicals collection, a microfilm archive of the absence, suspension and/or dismissal from the institution historical jazz periodical, containing reviews and events and graduation; copies of any official advisory notices or dating back to the 1920s. warnings regarding the student’s progress; results of juries or other examinations; copies of recordings Electronic resources available through the Berkeley programs, awards or other accomplishments of note; and/ Public Library website allow patrons to listen online to or evaluations, suggestions and/or complaints. The CJC recordings of classical and contemporary music from shall maintain pertinent student records for a period of at around the world. least 5 years from the student’s date of completion or withdrawal. Transcripts documenting the completion of The Art and Music Department can be found on the the degree will be maintained permanently. 5th floor of the Berkeley Public Library and is open Student records are strictly confidential. A student Mondays, 12pm – 8pm; Tuesdays, 10am – 8pm; Wednes- wishing to disclose their educational record to any other days, Thursdays, Fridays and Saturdays, 10am – 6pm; and party must first submit written proof of authorization to Sundays, 1pm – 5pm. Visit berkeleypubliclibrary.org for a the Registrar and Custodian of Records. Authorization complete schedule of holidays. may be revised at any time throughout a student’s tenure at the CJC. Students may borrow up to 50 items at any given time with their Berkeley Public Library card. Those items not Berkeley City College available onsite may be acquired through Link+. Located at 2050 Center Street, just one block from the CJC, Berkeley City College offers a wide range of Jean Gray Hargrove Music Library. Founded in 1947 courses that fulfill CJC General Studies requirements in as a branch of the University Library, the Music Library English (6 credits), Humanities (6 credits), Mathematics was located on the second floor of Morrison Hall from (3 credits), and Elective requirements (5 credits). 1957 until July 6, 2004, when the Jean Gray Hargrove Music Library opened to the public. Its collections today See Department of General Studies for General Studies contain some 180,000 volumes of books and printed courses approved for transfer from Berkeley City music, 50,000 sound and video recordings, and 30,000 College. Elective courses must be degree-relevant and microforms in addition to extensive special holdings of are accepted for transfer on a by-approval basis by manuscripts, rare materials, and archives. The collection the Dean of Instruction. For Berkeley City College serves the diverse teaching and research needs of course descriptions and class schedules, please visit the UC Berkeley Department of Music, which offers a berkeleycitycollege.edu/wp/programs/class-schedules- general undergraduate major and graduate programs in and-catalogs/. musicology, ethnomusicology,­ and composition, as well as embracing a variety of performance activities. The California Jazz Conservatory has not entered into a formal articulation or transfer agreement with The majority of materials in the Hargrove Music Library Berkeley City College, or any other college or university, — with the exception of sound and video recordings, at this time. periodicals, microforms, and special collections — circulate for use outside the library. Borrowing materials requires a current UC Berkeley Library card. Borrowers must have a current library card issued by the Privileges Desk at Doe Library. Visitors are welcome to use he CJC truly helps students collections on-site. lib.berkeley.edu/MUSI/collections.html T celebrate their individuality, wrestle with their challenges and develop their passion.

— Chair, CJC English Department

7 ABOUT THE CJC GENERAL INFORMATION

ADMISSION REQUIREMENTS To apply, visit cjc.edu/apply. Please send all supporting Both incoming freshmen and transfer students are materials including transcripts and letters of recommen- accepted into the CJC based on the following: dation. For those students living more than 150 miles 1. A completed application form including a personal from the CJC, please include samples of your playing. statement outlining your past accomplishments, future Send all material — along with a non-refundable $100 objectives and how and why you believe the CJC will Application Fee — to: help you realize them. California Jazz Conservatory 2. An official high school transcript. All students must Office of Admission have a satisfactory academic record and have earned 2087 Addison Street an overall GPA of 2.0 or higher to be admitted to the Berkeley, CA 94704 CJC. Photocopies are not accepted. Please note: the CJC accepts ability-to-benefit students. Auditions 3. Official college transcript(s) if applicable. Please Note: All students applying for admission to the CJC must all students must have a satisfactory academic record audition prior to acceptance. Auditions are held on-site. and have earned an overall GPA of 2.0 or higher to be A live audition is required for all students living locally; admitted to the CJC. Photocopies are not accepted. pre-recorded performance samples on a DVD are 4. Two original letters of recommendation, at least one accepted in lieu of a live audition for students living more of which is from a professional musician and/or music than 150 miles from the CJC. After your completed educator familiar with your work and professional application has been received, the Registrar will contact objectives. Photocopies are not accepted. you to schedule your audition. 5. A live audition. Students living more than 150 miles Auditions are approximately 30 minutes in length and from the CJC may substitute a DVD of their playing in may be scheduled throughout the academic year. lieu of a live audition. (See Auditions, Audition Require- Students must be prepared to perform and improvise ments and Placement Examinations, next section.) over the following tunes of their choice: a medium-tempo 6. Results of the Ear Training and Sight Singing and Jazz 12-bar blues; a ballad; a Latin tune; and an up-tempo jazz Theory and Improvisation Placement Exams. (See tune. They will also be given a short selection to Auditions, Audition Requirements and Placement sight-read. Examinations, next section.) Please note: To be accepted into the Jazz Studies Placement Examinations degree program, students are expected to have: All students applying for admission to the CJC must take two placement examinations: Musicianship (Ear Training 1. A basic knowledge of music theory including: and Sight Singing), and Jazz Theory and Improvisation. • Major and minor scales and key signatures in both Placement exams are not graded: they serve to confirm treble and bass clefs basic required knowledge and skills, and determine • Major, minor, diminished and augmented triads appropriate placement appropriate placement in • Major, dominant and minor seventh chords the Musicianship and Jazz Theory series. Placement AND examinations are administered directly following the 2. Basic musicianship skills including: audition. The Musicianship placement exam is approxi- • The ability to identify simple and compound mately 30 minutes in length; the Jazz Theory and intervals and seventh chords by ear Improvisation placement exam is one hour in length. • The ability to take simple melodic and rhythmic dictation Tuition and Supplemental Fees (all programs) • The ability to sight sing a simple melodic line • Tuition — Instrumentalists 7. For international students, an internet-based TOEFL (iBT) score. All instruction at the CJC occurs in English. Full-Time (12 credits and above / semester): A high level of English proficiency is required for $9,900 (including 1 credit of Private Instruction; admission. All non-native speakers must submit an not including Individual Tutorial, Trio Instruction) official score report from the Test of English as a Foreign Language (TOEFL) prior to enrolling. Part-Time (11 credits or fewer / semester): $780 / Applicants who have completed a 4-year degree credit (not including 1 credit of Private Instruction / program at an English-speaking college or university Individual Tutorial, Trio Instruction) may request TOEFL exemption. The CJC accepts Private Instruction / Individual Tutorial: internet-based TOEFL (iBT) scores only. Please do not $1,720 / credit submit paper-based TOEFL (pBT) scores. Applicants must receive a score of 75 or higher to be admitted Trio Instruction: $1,150 / credit into the CJC. TOEFL scores are valid for two years after the test date and there is no limit to the number of times the test may be taken. 8 9 GENERAL INFORMATION

• Tuition — Vocalists • Enrollment Deposit New students are required to pay a non-refundable Full-Time (12 credits and above / semester): $10,200 Enrollment Deposit of $100 at the time of their accep- (including Private Instruction; not including Individual tance into the program. Returning students are required Tutorial or Trio Instruction) to pay a non-refundable Enrollment Deposit of $200 on or before June 1, prior to each fall semester, and on or Part-Time (11 credits or fewer / semester): $780 / before December 1, prior to each spring semester. The credit (not including 1 credit of Private Instruction / Enrollment Deposit is credited to students’ tuition for the Individual Tutorial / Trio Instruction) upcoming semester. A late fee of $100 per month will Private Instruction / Individual Tutorial: apply to an Enrollment Deposit made after the due date. $1,720 / credit • Course Materials / Lab Fees Trio Ensembles: $1,150 / credit Students should expect to pay approximately $300 for texts and supporting course materials per semester. Tuition is due at the time of registration. (See registration dates listed in the Academic Calendar.) • Computer Requirements Students registering after the registration period are Instruction at the CJC utilizes many modern technologies subject to a late registration fee of $50. Students must and internet resources, and all students are expected to either have paid tuition and fees in full, have been own or have access to a computer running Mac OS 10.10 accepted for financial aid, or have created an in-house (Yosemite) or Windows 7 at minimum with high-speed semester-long payment plan prior to the first day of internet access for research, communication and instruction to attend classes. Students with overdue coursework. For music technology courses, a laptop with tuition may not register for succeeding semesters. a recent version of Sibelius (version 6 or above) and Pro Seniors with outstanding tuition will be prohibited from Tools (version 9 or above, or Pro Tools First) is required taking part in their graduation ceremony and will not be to participate. If purchasing a computer and software issued their transcript. specifically for this program, we recommend a Macintosh In-House Payment Plan ­— The CJC offers students the laptop, a standard word processing suite such as option of paying their tuition on a monthly basis for a fee Microsoft Office or Open Office, and the Sibelius music of $50/semester. The CJC In-House Payment Plan must be notation program, for maximum compatibility with the created at the time of registration each semester. For fall material and software being taught. semester, tuition is divided up into five equal payments due on the first of the month for months August–December; • Library Cards for spring semester tuition is divided up into five equal California residents are entitled to a Berkeley Public payments due on the first of the month for months Library card. There is a $100 annual fee for a library card January–May. A late fee of $25 will be charged for payments for the Jean Gray Hargrove Library at UC Berkeley. submitted after the first of each month. Note: the current semester’s tuition must be paid in full before a student may • Challenge Examinations register for the subsequent semester. To create a payment The fee for Challenge Examinations (testing out of plan, contact the Registrar at [email protected]. a course) is $275 per course.

Students with an outstanding balance who have not • Transcripts yet been accepted for financial aid or created a Official transcripts are issued for a fee of $10 per payment plan by the first day of instruction will be transcript. Unofficial transcripts are free of charge. dropped from the program. Students with overdue To request a transcript, please contact the tuition may not register for succeeding semesters. Registrar at registrar @cjc.edu. Seniors with outstanding tuition will be prohibited from taking part in their graduation ceremony and will • Student Tuition Recovery Fund (STRF): not be issued their transcript. Students are required to pay the non-refundable state-imposed assessment for the Student Tuition Tuition at the California Jazz Conservatory is subject to Recovery Fund (STRF) of $0.00 per every $1,000 of increase by approximately 4% per year. tuition each semester. California law requires that upon enrollment a fee be assessed relative to the cost of tuition. • Application Fee These fees support the Student Tuition Recovery Fund Students must pay a one-time, non-refundable Applica- (STRF), a special fund established by the California tion Fee of $100. The Application Fee is submitted along Legislature to reimburse students who might otherwise with the Application for Admission. experience a financial loss as a result of untimely school closure. Institutional participation is mandatory. • Registration Fee A non-refundable Registration Fee of $50 is charged per semester. Students registering after the deadline will be charged a Late Registration Fee of $50 (please see Academic Calendar 2019 – 2020 on the inside front cover for registration deadlines). 8 9 GENERAL INFORMATION

You must pay the state-imposed assessment for • Summary of Tuition and Supplemental Fees the Student Tuition Recovery Fund (STRF) if all of the — Application Fee (one-time, non-refundable): $100 following applies to you: — Enrollment Deposit (per semester, non-refundable; 1. You are a student in an educational program, who applied to tuition): $100 (new students); $200 is a California resident, or are enrolled in a residency (returning students) program, and prepay all or part of your tuition either by — Enrollment Deposit Late Fee (per month): $100 cash, guaranteed student loans, or personal loans, and (See under Enrollment Deposit) — Registration Fee (per semester, non-refundable): $50 2. Your total charges are not paid by any third-party payer such as an employer, government program or — Late Registration Fee (per semester): $50 other payer unless you have a separate agreement — Late Payment Fee (per month): $50 (per terms of to repay the third party. the Enrollment Agreement) — Tuition Instrumentalists: $9,900 / semester, full-time You are not eligible for protection from the STRF and you enrollment; $780 / credit, part-time enrollment are not required to pay the STRF assessment, if either of — Tuition Vocalists: $10,200 / semester, full-time the following applies: enrollment; $780 / credit, part-time enrollment

1. You are not a California resident, or are not enrolled — Private Instruction / Individual Tutorial: in a residency program, or $1,720 / credit — Trio Ensembles: $1,150 / credit 2. Your total charges are paid by a third-party, such as an — STRF fee: $0.00 per $1,000 of tuition employer, government program or other payer, and you (per semester); see under Student Tuition have no separate agreement to repay the third party. Recovery Fund

course descriptions The State of California created the Student Tuition — Challenge Examinations: $275 / course Recovery Fund (STRF) to relieve or mitigate economic — Textbooks and supporting materials: losses suffered by students in educational programs who $300 / semester (estimated) are California residents, or are enrolled in a residency — Music Software: $600 (estimated) programs attending certain schools regulated by the Bureau for Private Postsecondary Education. — Library Fee (annually): $0 – $100 — Transcripts: $10 per official transcript You may be eligible for STRF if you are a California resident or are enrolled in a residency program, prepaid • Total Tuition Charges tuition, paid the STRF assessment, and suffered an economic loss as a result of any of the following: Instrumentalists Full-time enrollment ($9,900 / semester over 1. The school closed before the course of instruction 8 semesters): $79,200 was completed. Full-time enrollment ($9,900 / semester over 2. The school’s failure to pay refunds or charges on 9 semesters): $89,100 behalf of a student to a third party for license fees or Part-time enrollment — Instrumentalists any other purpose, or to provide equipment or materials (128 credits @ $780 / credit + 8 credits @ $1,720 / for which a charge was collected within 180 days before credit (private instruction): $113,600 the closure of the school. Part-time enrollment — Pianists ($780 / credit @ 126 credits + $1,720 / credit 3. The school’s failure to pay or reimburse loan proceeds @ 8 credits): $112,040 under a federally guaranteed student loan program as required by law or to pay or reimburse proceeds received Vocalists by the school prior to closure in excess of tuition and Full-time enrollment ($10,200 / semester over other costs. 8 semesters): $81,600 Full-time enrollment ($10,200 / semester over 4. There was a material failure to comply with the Act or 9 semesters): $91,800 this Division within 30 days before the school closed or, if the material failure began earlier than 30 days prior to Part-time enrollment ($780 / credit @ 128 credits closure, the period determined by the Bureau. + $1,720 / credit @ 8 credits): $113,600

5. An inability after diligent efforts to prosecute, prove, and collect on a judgment against the institution for a violation of the Act.

However, no claim can be paid to any student without a social security number or a taxpayer identification number. 10 11 GENERAL INFORMATION

Private Instruction Work-Study Students are required to take fifteen one-hour private The California Jazz Conservatory offers work-study lessons per semester. The cost of one credit of private opportunities on an as-available basis. Work-study instruction is included in full-time tuition; the rate for positions may include accompaniment, light office work, private instruction for part-time students is $1,720 per bookstore staffing and more. Please contact the Dean of credit and includes the cost of CJC room rental. Private Instruction regarding availability of work-study positions. lessons are scheduled on a to-be-arranged basis between student and teacher. All fifteen hours of Code of Academic Integrity private instruction must be completed within the Academic integrity is central to forwarding the mission, semester in which the student is enrolled. goals and objectives of the California Jazz Conservatory. The CJC is committed to providing an environment Scholarships and Prizes conducive to all aspects of teaching and learning. CJC The CJC awards unsolicited partial scholarships and prizes students are held to the highest moral and ethical on occasion to qualified students based on a combina- standards and are obligated to conduct themselves in tion of artistic merit, financial need and the particular a manner consistent with the principles as stated in the needs of the program at the time of inquiry. Students must Code of Academic Integrity as follows: maintain a cumulative GPA of 3.0, and earn a C or higher in all classes, to remain eligible for scholarships. Note: The Code of Academic Integrity prohibits students from students receiving a scholarship who earn a non-passing engaging in any acts of academic dishonesty whatsoever grade of C– or lower in any required courses are respon- including but not limited to: plagiarizing; lying; cheating; sible for retaking those courses at their own expense. and/or fraud. Under the Code of Academic Integrity: Plagiarizing is defined as taking ownership of the work or The following scholarships and prizes are awarded to CJC idea of another as one’s own without crediting the source. students who demonstrate a combination of artistic promise, commitment to excellence, and financial need Lying is defined as making a false statement which is on an as-available basis: intended to deceive. • The Jamey Aebersold Scholarship Cheating is defined as benefitting from acting dishon- Established in honor of Jamey Aebersold, one of the estly or unfairly. world’s leaders in jazz education and performance, Fraud is defined as serving as an impostor for personal the Jamey Aebersold Scholarship provides financial gain. support for promising CJC students. • The William E. Robinson Scholarship All alleged infractions of the Code of Academic Integrity The William E. Robinson Scholarship is awarded to a should be reported to the Dean of Instruction in writing. CJC student who demonstrates commitment to The Dean of Instruction, together with the student’s excellence in the fields of jazz and related styles of music. instructor, will thoroughly review the allegations for their veracity, and based on their findings, will determine the • The Sy Grossman Family Scholarship appropriate action. Proof of violation of the Code of A scholarship fund created in loving memory of CJC Academic Integrity will result in either reprimand and a board member, jazz pianist and dear friend Seymour loss of credit for the assignment, loss of credit for the Grossman. course, suspension for one year, or permanent dismissal, • East Bay Center for the Performing Arts Scholarship depending on the seriousness of the offense. Students A scholarship established by the California Jazz found in violation must meet with the Dean of Instruction Conservatory in conjunction with East Bay Center for in person at which time they will be given a written notice the Performing Arts to provide graduates of the citing the infraction and consequences of the offense. Young Artist Diploma Program with partial scholar- |Any academic and/or financial penalties will apply as of ships to attend the California Jazz Conservatory that date. degree program in Jazz Studies. • The Dick Hindman Prize in Jazz Piano Please note: In the case of suspension, a student is First, second and third place prizes are awarded required to reapply for admission into the program as a annually to three current California Jazz Conservatory new student (see under Admission Requirements). In the students who demonstrate excellence in jazz piano. case of dismissal, a student may not reapply for admis- The Dick Hindman Prize in Jazz Piano was established sion into the program. Violation of the Code of Academic in 2018 by Jacquelin and Sheafe Ewing in honor of Integrity that results in either suspension or dismissal will revered San Francisco Bay Area jazz pianist and be permanently attached to a student’s transcript. teacher Dick Hindman.

10 11 GENERAL INFORMATION

Code of Conduct California Jazz Conservatory Policy The California Jazz Conservatory is committed to on Sexual Harassment providing our collegiate community of students, faculty The California Jazz Conservatory adheres to the provisions and staff with an environment conducive to the freedom under Title IX of the Education Amendments Act of 1972, the to teach and to learn — a setting that promotes intellec- federal law stating that “No person in the United States shall, tual freedom, nurtures individual creativity and self-expres- on the basis of sex, be excluded from participation in, be sion and is free from discrimination of any kind. denied the benefits of, or be subjected to discrimination under any education program or activity receiving Federal Violations of the Student Code of Conduct include but are financial assistance.” not limited to the following on-campus acts: • Harassment, whether verbal, physical or written The California Jazz Conservatory defines sexual harassment (including electronic communications), which is as conduct that comprises a combination of the following directed at an individual and/or member of a three conditions: is sexual in nature; is unwelcome; and protected class, that extends beyond the bounds denies or limits a person’s ability to participate in or benefit of protected free speech from the California Jazz Conservatory’s programs.

• Use or sale of illegal drugs Sexual harassment may be associated with any of the • Alcohol intoxication California Jazz Conservatory’s programs, regardless of the • Smoking within 50 feet of campus location. It applies to anyone of any sexual orientation, involving conduct that is carried out by any member of the • Disorderly conduct of any kind California Jazz Conservatory community, e.g., a member of • Non-consensual physical contact of a sexual nature the board, faculty or staff, a student, or a non-employee third • Damaging or defacing CJC property or resources party, e.g., a visiting artist/scholar or consultant. Sexual harassment may be verbal, nonverbal or physical – or a • Theft or attempted theft combination of the three.

course descriptions • Possession of weaponry of any kind Examples of sexual misconduct include, but are not limited All alleged infractions of the Code of Conduct should be to, the following: reported to the Dean of Instruction in writing. The Dean • making lewd remarks of Instruction, together with the student’s instructor, will thoroughly review the allegations for their veracity, and • making sexual propositions based on their findings, will determine the appropriate • pressuring for sexual favors action. Proof of violation of any aspect of the Code of • touching of a sexual nature Conduct will result in either reprimand, probation for the remainder of the semester and subsequent semester, • writing graffiti of a sexual nature suspension for one year, or permanent dismissal, depend- • distributing sexually explicit drawings, ing on the seriousness of the offense. Students found in pictures, or written materials violation must meet with the Dean of Instruction in person • displaying sexual exhibitionism at which time they will be given a written notice citing the infraction and consequences of the offense. Please note: • telling jokes of a sexual nature Academic and financial penalties (see under Cancellations, • spreading sexual rumors Withdrawals and Refunds and Adding, Dropping and • circulating e-mails or websites of a sexual nature Withdrawing from Courses) will apply as of the date of the written notice. Please note: In the case of suspension, a student is required to reapply for admission into the The California Jazz Conservatory has a zero-tolerance policy program as a new student (see under Admission Require- for sexual harassment, in any and all forms, and upholds an ments). In the case of dismissal, a student may not reapply absolute commitment to resolving sexual harassment within for admission into the program. Violation of the Student the institution’s community while maintaining the strictest Code of Conduct that results in either suspension or principles of confidentiality and discretion with those who dismissal will be permanently attached to a student’s report incidents of misconduct. transcript. Any form of sexual harassment is to be reported in writing Students enrolled in the CJC are held to the highest to the President, who will review those allegations and standards of conduct and must obey federal, state and determine the appropriate next steps, including arranging local laws. for an independent investigation by an experienced and impartial workplace investigator.

12 13 GENERAL INFORMATION

Proof of sexual harassment by a faculty or staff member Housing will result in termination; proof of sexual harassment by The CJC is located within easy walking distance of a a student will result in either reprimand, probation for number of student-friendly apartment complexes in the remainder of the semester and subsequent semester, downtown Berkeley and the nearby vicinity and is also suspension for one year, or permanent dismissal, depend- easily accessible by BART for students who wish to live ing on the seriousness of the offense. outside of the city. There are no living accommodations available through the California Jazz Conservatory at Anyone found in violation of the California Jazz Conser- this time. The CJC is not responsible for finding or vatory Policy on Sexual Harassment must meet with the assisting a student in finding housing. CJC students President, at which time that person will be given a are responsible for making arrangements for their own written notice citing the alleged infraction and subse- housing. As of January 2016, average monthly apartment quent consequences of the offense. rent in Berkeley ranged from $1,945 for a studio; $2,200 for a one-bedroom; and $3,175 for a two-bedroom Academic Standing apartment. Undergraduate students are classified as either Lower or Upper Division. International Students The California Jazz Conservatory is authorized to issue the Lower Division students include: F-1 student visa. For information on how to obtain the F-1 student visa, please visit https://www.ice.gov/sevis. Freshman — Students who have completed 0 – 34 credits of passing work. The CJC does not vouch for student status or any Sophomore — Students who have completed 35 – 68 associated charges. credits of passing work and have passed their freshman jury. Please note: International students are required to submit an application along with a high school transcript, college Upper Division students include: transcripts (if applicable), two letters of recommendation, Junior — Students who have completed 69 – 102 a TOEFL score (see under 7. on page 8), and a playing credits of passing work and have passed their sample in the form of a DVD. International students are sophomore jury. also required to do a live audition and take the Ear Training and Sight Singing and Jazz Theory and Improvisa- Senior — Students who have completed 103 – 136 tion Placement Exams upon their arrival at the CJC. credits of passing work and have passed their junior jury.

Academic Probation, Suspension and Dismissal All students must maintain a minimum cumulative grade point average of 2.0 or higher to remain in good academic standing (see Grading).

Academic Probation — A student whose cumulative grade point average falls below 2.0 will be placed on academic probation until the end of the semester after his/her cumulative GPA returns to 2.0 or above. A student must earn a semester grade point average of a minimum of 2.0 each semester while on academic probation.

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).

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.

12 13 FINANCIAL AID

The California Jazz Conservatory is committed Loans to assisting each and every student with the cost A loan is a financial award that must be repaid. of covering their tuition and living expenses. The The following loans are available through the USDE: following is an overview of the various sources of financial aid available to CJC students. Sources include • Federal Direct Loans federal financial aid (grants, loans and work-study), There are two types of Federal Direct Loan the CJC in-house payment plan, CJC scholarships and Programs: subsidized and unsubsidized. additional resources for parents.

Subsidized Direct Loan Program — Students FEDERAL SOURCES OF FINANCIAL AID with calculated financial need may borrow under (GRANTS, LOANS AND WORK STUDY) the Subsidized Direct Loan Program. Under the Subsidized Direct Loan Program, the federal Grants government pays the interest on the loan while A grant is a financial award that does not have to be students are in school and during their grace period. repaid. The following grants are available through the Note 1: students must be enrolled at least half-time US Department of Education (USDE): to be eligible for the Subsidized Direct Loan Program. Note 2: A student’s EFC is taken into consideration when determining his/her eligibility for a Subsidized • Federal Pell Grants Direct Loan. For the 2019–2020 Award Year, the projected maximum Federal Pell Grant amount is $6,195. Awards are need-based and will vary based on the Unsubsidized Direct Loan Program — Students student’s EFC and the student’s enrollment status (see with no calculated financial need may borrow under Enrollment Definitions below). Note: students who are the Unsubsidized Direct Loan Program. The interest enrolled less than half-time may be eligible for Pell rate is the same, but unlike the Subsidized Direct Loan Grants. Program, the government does not pay the interest on the loan. Students have the option of paying the interest while in school, or having it added to their Enrollment Definitions (per semester) principal when they graduate or cease being enrolled Full-time enrollment: 12 credits or more on at least a half-time basis. Note 1: Students must Three-quarter enrollment: 9–11 credits be enrolled at least half-time to be eligible for the Unsubsidized Direct Loan Program. Note 2: A Half-time enrollment: 6–8 credits student’s EFC is not taken into consideration when Less than half-time determining his/her eligibility for an Unsubsidized enrollment: 1–5 credits Direct Loan; however, any other aid received is a consideration (for example, if the student is eligible • Federal Supplemental Opportunity Grant (FSEOG) to receive a Subsidized Direct Loan or a Pell Grant). The Supplemental Opportunity Grant (FSEOG) is for those students who demonstrate exceptional financial need. Funds are extremely limited; Federal Pell Grant recipients take priority. Award amounts vary between $100 – $300 per academic year.

The following tables 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

14 15 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

After reviewing the FAFSA, the Financial Aid Office Federal Work-Study (FWS) determines the maximum amount that a student can Federal Work-Study (FWS) is money that is earned while borrow each year based on: attending school and that does not have to be repaid. EFC (Expected Family Contribution); FWS is a form of student employment — a need-based financial aid award that allows students to work on Dependency status (whether they are campus part-time. It is not a grant (because students considered dependent or independent according to the student’s FAFSA); must work to earn it), and it is not a loan (because students do not have to repay it). Grade level at the beginning of the loan period. In order to receive FWS, students must complete the Parent Loans for Undergraduate Students FAFSA and have FWS eligibility. Federal funding is (PLUS) — The PLUS program allows qualified parents limited. FWS funds are distributed on an as-available to borrow funds to help support their dependent basis. Students can only apply for FWS positions if they children while their son/daughter is attending college. have this as part of their financial aid package. They are Unlike the Subsidized and Unsubsidized Direct Loans, paid an hourly wage on a bi-weekly basis for hours the parent must pass a credit check; if the parent worked, and their paycheck will be sent directly to them does not pass the credit check they may either appeal instead of applied to their bill. Note: students who are or provide a co-signer for the loan. awarded FWS must complete all of the forms listed in the FWS Guidelines.

The EFC is not used in calculating PLUS eligibility (i.e., CJC Scholarships PLUS can replace the EFC), and the total amount a The CJC awards partial scholarships on an as-available parent can borrow may not exceed the student’s Cost basis to qualified students based on a combination of: of Attendance (COA) minus all other aid received. • Artistic merit • Financial need A dependent student whose parent is ineligible for a • The particular instrumental/vocal needs PLUS loan may be eligible for increased unsubsidized of the program at the time of inquiry loans as shown above.

Students must maintain a cumulative GPA of 3.0, and If a student obtains a loan to pay for an educational earn the grade of C or higher in all classes, to remain program, the student will have the responsibility to eligible for scholarships. Note: Students receiving a repay the full amount of the loan plus interest, less scholarship who earn a non-passing grade of C- or lower the amount any refund. If a student has received in any required course(s) are responsible for retaking federal student financial aid program funds, the those courses at their own expense. student is entitled to a refund of moneys not paid from federal student financial aid program funds. To inquire about availability of CJC scholarships, please contact the Registrar at [email protected]. Loan Fees 2018–19 At each disbursement the Department of Education Additional Resources for Parents deducts a fee. The loan fee for Direct Loans (Subsidized Parents and students can use a variety of resources to and Unsubsidized) is 1.062% for loans on or after 10/1/18 cover their Educational Expenses such as: and before 10/1/19; the fee for the PLUS loan is 4.248% • PLUS Loans (dependent students only). for loans on or after 10/1/18 and before 10/1/19. • Student’s Financial Aid Package (including loans, grants, and Federal Work Study). Please communicate with your son/daughter.

14 15 FINANCIAL AID

• The CJC In-House Payment Plan The easiest (and recommended) way to do this is to allow • Outside scholarships the FAFSA website to access their IRS tax return by using the IRS Data Retrieval Tool (DRT). This step links their • Tax-free accounts and tax benefits plans (Coverdell FAFSA to the appropriate federal tax return and enters and 529 Plans) the information for them. • Federal veterans benefits • Tuition benefit plans set up by employers or agencies Verification to help students/parents pay for college costs. Some students will be selected by the Department of Education to have their information “verified” by the CJC The CJC offers students the option of paying their tuition Financial Aid Office. The CJC will send those students who on a monthly basis for an administrative fee of $50/ are selected for verification the appropriate form that they semester. Payment plans must be created at the time of will need to return (along with any supporting documenta- registration. For fall semester, tuition is divided up into tion) within 30 days of the date of the notice. Typically, five equal payments due on the first of the month for items that may require verification include income months August-December; for spring semester, tuition is information, household members, and number in college. divided up into five equal payments due on the first of Note: If students used the IRS DRT and did not make any the month for months January-May. A late fee of $25 will changes, they most likely will not have to provide any be charged for payments submitted after the first of each backup documents. There may be other items requiring month. Note: the current semester’s tuition must be paid verification, but these are the most common. in full before a student may register for the subsequent semester. To create a CJC In-House Payment Plan, please The CJC Financial Aid Office requires that students contact the Registrar at [email protected]. complete the verification process before their loans are certified (approved) and sent to the ED.

HOW TO APPLY FOR FEDERAL FINANCIAL AID HOW FINANCIAL AID IS DETERMINED Obtaining a Federal Student Aid (FSA) ID Students who have a PIN must now obtain a new Financial aid awards are based on demonstrated financial FSA ID. The website for creating a new FSA ID is need, which is the difference between the family’s Expected https://fsaid.ed.gov. Family Contribution (EFC) plus the student’s own resources (EFC and any other financial aid), and the allowable The FSA ID consists of a username and password that educational expenses or Cost of Attendance (COA). students must use to log in to certain U.S. Department of Education (ED) websites. The FSA ID enables students The USDE determines the EFC, which is based on the to access their personal information on ED websites such information submitted on the student’s FAFSA. If there as the Free Application for Federal Student Aid are unusual or extenuating circumstances, the Financial (FAFSA®) at www.fafsa.ed.gov. Aid Office may make adjustments based on adequate documentation, on a case-by-case basis. The FSA ID is used to sign legally binding documents electronically. It has the same legal status as a written The CJC Financial Aid Office creates an annual budget signature. Besides being used for completing the FAFSA, for each student based on the following costs: students can also use their FSA ID for signing their Master • Tuition and Fees Promissory Note (MPN) and for completing Loan • Room & Board Entrance Counseling (a requirement for loan borrowers). • Transportation Note: parents of dependent students (those students • Books & Supplies living at home) will need their own FSA ID if they want to • Loan Fees sign their son’s or daughter’s FAFSA electronically. If parents have more than one child attending college, they • Personal/Miscellaneous Expenses can use the same FSA ID to sign all applications. If there are unusual expenses (for example, unusual Completing the FAFSA medical expenses, child care, etc.), the Financial Aid To apply for federal student aid, students must complete Office can, with adequate documentation, make the FAFSA at www.fafsa.ed.gov. Students will need to adjustments to an individual student’s budget. Note: include the CJC School Code: 042376. The school code again, this can only be done on a case-by-case basis. authorizes the ED to send students’ FAFSA information to the CJC. The Financial Aid Office calculates budgets for both dependent students (those students living at home) and When completing the FAFSA, students (and their parents for independent students (those students not living at if students are dependent) will be asked to provide home). This information is initially derived from the federal tax return information for the previous tax year. student’s FAFSA.

Note: A student’s total financial aid may not exceed the 16 student’s COA. 17 FINANCIAL AID

STUDENT BUDGETS Students must then print a copy, sign it and return it to the CJC Financial Aid Office before their financial aid can Tuition and Fees be finalized. Tuition for the 2019–2020 academic year is as follows: • Application fee (a one-time fee, new students only): Note: Although loans will not be certified by the CJC $100 Financial Aid Office until the student’s award letter has been signed and returned (and, if selected, verification • Registration fee (all students): $50 / semester completed), students will still be able to decline or • Full-time students (taking 12 or more credits per reduce their loan amounts up to 14 days after the semester): $9,500, instrumentalists; $9,800, vocalists disbursements have been received by the CJC and • Part-time students (taking 11 or fewer credits posted to their student account. When the CJC receives per semester): $750 / credit the loan funds, the business office will send students an email notification of the amounts and date posted, with • Private instruction/Individual Tutorial: $1,650 per credit information on how to change their loan amounts. • Trio ensembles: $1,100 per credit Loan Entrance Counseling The Financial Aid Offer Letter Students who are first time loan borrowers at the After the CJC Financial Aid Office receives a student’s California Jazz Conservatory must complete Loan FAFSA, it will determine the maximum eligibility for Entrance Counseling at studentloans.gov. financial aid and send them a Financial Aid Offer Letter. The Offer Letter will list what types of financial aid are Master Promissory Note available to students. Students have the option of either If students have never had a student loan before (or accepting or declining any of the awards listed or even within the last 10 years) and wish to accept one, they requesting a lower amount in loans if they choose. must complete the Master Promissory Note (MPN) at studentloans.gov.

The following table shows California Jazz Conservatory tuition and fees for the 2019– 2020 academic year for a continuing full-time instrumental student taking 12 –18 credits per semester. Note: vocalists add $300/semester; seniors add $1,650 for the Senior Project.

Category Fall Semester Spring Semester Annual Total

Tuition $9,900 $9,900 $19,800 Reg. Fee $50 $50 $100 Total $9,950 $9,950 $19,900

Non-CJC Expense Estimates for Students — For the purposes of determining eligibility for Federal Financial Aid, the Financial Aid Office uses the following estimates based on California Student Aid Commission (CSAC) Student Expense Budgets for 2019 – 2020. Note: these costs are estimates only.

With Parents Off Campus Housing

Category Semester Annual Semester Annual

Books & Supplies $986 $1,971 $986 $1,971 Room & Board $3,393 $6,786 $7,542 $15,084

Transportation $567 $1,134 $639 $1,278

Personal / Misc. $1,782 $3,564 $1,998 $3,996

Total $6,728 $13,455 $11,165 $22,329

16 17 FINANCIAL AID

Adjustments to Awards Satisfactory Academic Progress (SAP) The California Jazz Conservatory reserves the right to Federal Financial Aid regulations require schools adjust or cancel financial aid awards at any time for to certify that each student applicant for Federal several reasons. Examples include, but are not limited to: Financial Aid is making Satisfactory Academic Progress • A determination by the Department of Education of (SAP). SAP has two parts: a change in the student’s eligibility • A student who fails to make Satisfactory Academic 1. GPA: Students receiving financial aid must maintain a Progress (SAP) (see under Satisfactory Academic cumulative GPA of 2.0 or above. Progress (SAP)) 2. Maximum Time Frame: According to federal regula- • Changes in availability of funding or tions, students receiving financial aid may not exceed 150 percent of the standard time expected of a • Changes in a student’s financial need student to complete her/his degree. This means that the maximum time frame for eligibility for Federal Disbursement Dates Financial Aid is 6 years. This includes all terms, Financial Aid funds will be requested from the Department whether or not the student actually received financial of Education within 3 days after the end of the drop/add aid. It also includes enrollment periods prior to the period each semester. When these funds are received and CJC’s participation in the Federal Financial Aid posted to the student’s account, the business office will programs. send out a notification of the date and amounts posted, and when any credit balance due to students will be When looking at each student’s enrollment history, available. In addition, if loan funds are received, students the CJC will evaluate whether or not the student will still have the option of either declining or reducing the has completed the appropriate number of credits at amount of their loans within 14 days of that notice. the time of financial aid certification, based on the individual student’s enrollment history. First Year, First Time Borrower “30-day Delay” — In order to meet this maximum time frame of 6 years For first-year, first time students who have never to completion, for financial aid purposes, full-time borrowed under the federal student loan programs, students need to satisfactorily complete (at a mini- federal regulations require that the first disbursement of mum) the following number of cumulative credits per a loan cannot be disbursed earlier than 30 days after the academic year: start of classes.

Early Disbursement for Pell Grants and Books — Students who are Pell Grant recipients, and whose total % of Total Credits Required for Completion aid is in excess of the current semester’s charges, may Required Instrumentalists use that balance to pay for required text books up to and Vocalists Pianists 10 days prior to the beginning of that semester. Credits 136 134

After 2019 – 2020 Disbursement Schedule Year 1 17% 23 22 Year 2 33% 45 45 Fall Semester Year 3 50% 68 67 Pell Available for Books 08/9/2019 Year 4 67% 91 89 First Day of Instruction 08/19/2019 Year 5 83% 113 112 Last Day to Add / Drop a Class 09/01/2019 Year 6 100% 136 134 Disbursement Date 09/05/2019 Excess Funds available to students 09/19/2019 Financial Aid Warning and Ineligibility Students who have been placed on Financial Aid Spring Semester Warning will have one academic semester to remediate any deficiencies and may continue to receive additional Pell Available for Books 01/11/2020 aid during that academic semester. First Day of Instruction 01/21/2020 Last Day to Add / During the warning period, the student will be expected Drop a Class 02/03/2020 to correct the previously identified deficiencies and to successfully complete all courses enrolled in during that Disbursement Date 02/07/2020 period. Excess Funds available to students 02/21/2020

18 19 FINANCIAL AID

Should the student fail to enroll during that next Return of Title IV Funds academic period, the terms of Financial Aid Warning will The Financial Aid Office is required by federal statute to apply to the next future term in which the student enrolls. recalculate Federal Financial Aid eligibility for students who withdraw, drop out, are dismissed, or take a leave Failure to correct the unsatisfactory grades during the of absence. The federal Title IV financial aid for which warning period may result in financial aid ineligibility a student is eligible must be recalculated when any of (i.e., no additional financial aid). these situations occur prior to the student completing 60% of a payment period or term. A student who has been determined to be ineligible for financial aid due to Unsatisfactory Academic Progress Recalculation is based on the percentage of “earned” aid may appeal this determination. using the following Federal Return of Title IV funds formula: Leave of Absence According to federal regulations, a student who has Number of days completed up to the withdrawal date ÷ received Federal Financial Aid and has been granted Total days in the term a leave of absence by the school is NOT considered withdrawn from school. A school may approve a leave Any funds not “earned” according to the above formula of absence to a student provided: will be returned to the appropriate federal source (loan • The student has made a written request to be granted funds will be returned before grants). In some cases, the a leave of absence, signed and approved by their amount required to be returned may be more than what advisor. the student owes the CJC according to the CJC Refund Policy, in which case the student will need to make • The leave of absence involves no additional charges arrangements with the CJC to pay any balances. by the school to the student.

• In any 12 months, the student can have no more than FERPA Confidentiality one leave of absence, and the leave of absence cannot The Family Educational Rights and Privacy Act (FERPA) exceed 6 months. of 1974 is a federal law that establishes the rights of • The leave of absence is authorized under these students with regard to education records, and ensures stipulations: medical reasons, job crisis, significant students of the right to privacy and confidentiality with family sickness or death and other extenuating respect to those records. It applies to colleges and circumstances. universities that receive funding from the federal government. Records created and maintained by the Withdrawing from the California Jazz Conservatory financial aid office are considered to be education A student who wishes to permanently withdraw from records and may not be disclosed without the student’s the CJC must file a Withdrawal Form with the Registrar. consent. This means that (unless required by law) the Withdrawal Forms are available from the Registrar in the Financial Aid Office will not discuss specifics of a Main Office. The notice to permanently withdraw will be student’s financial aid unless the student has provided considered effective no later than the date it is received a written release to discuss and/or disclose their records by the Registrar. Permanent withdrawal may be effectu- with someone other than themselves (i.e., with a parent, ated by a student’s written notice or by a student’s guardian, etc.). conduct, including, but not necessarily limited to, a student’s lack of attendance. Financial Aid Code of Conduct The Higher Education Opportunity Act requires institu- All financial and academic penalties apply as of the date tions of higher education participating in the administra- the notice to permanently withdraw is received by the tion of educational loan programs to develop and publish Registrar. Exceptions may be made for family or medical a Code of Conduct (34 CFR 601.21). emergencies with valid documentation. • The CJC Financial Aid Code of Conduct Please note: Students who have permanently withdrawn The California Jazz Conservatory (CJC) expects the and subsequently wish to return to the CJC must reapply highest levels of professionalism and ethical behavior for admission as a new student (see under Admission from all officers, employees, and agents whose responsi- Requirements). bilities include student financial aid matters. These individuals must avoid even the appearance or perception of any conflict of interest regarding their student aid responsibilities. They must refrain from taking any action they believe is contrary to law, regulation, or the best interest of the students they are serving, and must disclose all conflicts identified in this policy.

18 19 FINANCIAL AID

Any CJC officer, employee, or agent who has responsi- bilities with respect to student educational loans is required to comply with this Code of Conduct as outlined below. • The CJC does not enter into any revenue-sharing arrangement with any lender. • No officer, employee or agent of the CJC who is employed in the financial aid office or who otherwise has responsibilities with respect to education loans, will solicit or accept any gift or other thing of value from a lender, guarantor, or servicer of education loans. • Certain items provided or contributed by lenders are not considered gifts, such as training materials for staff, entrance and exit counseling services including providing educational counseling materials, financial literacy materials, or debt management materials to borrowers, provided that such materials disclose to borrowers the identification of any lender that assisted in preparing or providing such materials. • No officer, employee or agent of the CJC who is employed in the financial aid office or who otherwise has responsibilities with respect to education loans, will accept from any lender or affiliate of any lender, any fee, payment, or other financial benefit (including the opportunity to purchase stock) as compensation for any type of consulting arrangement or other contract to provide services to a lender or on behalf of a lender relating to education loans. • The CJC will not, for any first-time borrower, assign, through award packaging or other methods, the borrower’s loan to a particular lender or refuse to certify, or delay certification of, any loan based on the borrower’s selection of a particular lender or guaranty agency. • The CJC will not request or accept from any lender, any offer of funds to be used for private education loans, including funds for an opportunity pool loan, to students in exchange for the campus providing concessions or promises regarding providing the lender with a specified number of loans made, insured, or guaranteed, a specified loan volume, or a preferred lender arrangement for such loans. • The CJC does not request or accept from any lender any assistance with call center staffing or financial aid office staffing. • No employee of the CJC who is employed in the financial aid office or who otherwise has responsibili- ties with respect to education loans or other student financial aid and who serves on an advisory board, commission, or group established by a lender, guarantor, or group of lenders or guarantors, will receive anything of value from the lender, guarantor, or group of lenders or guarantors for such service.

Questions? Contact the CJC Financial Aid Office at [email protected] or (510) 845-5373 ext. 17.

20 21 POLICIES

Student Enrollment Agreement A pro-rata refund shall be no less than the total amount Students must sign the CJC Student Enrollment owed by the student for the portion of the educational Agreement prior to enrolling in classes each semester. program provided subtracted from the amount paid by This document serves as a binding agreement between the student, calculated as follows: The amount owed the student and the school formalizing the details of equals the daily charge for the program (total institutional the student’s financial obligations to the school and the charge, divided by the number of days or hours in the school’s obligations to the student. program), multiplied by the number of days student attended, or was scheduled to attend, prior to withdrawal. Cancellations, Withdrawals and Refunds Note: Pro-rata refunds for full-time students who wish to Cancellation — A student has the right to cancel the withdraw from the program are calculated based on the Enrollment Agreement and obtain a refund of charges following: their total tuition, divided by the total number paid through attendance at the first class session, or the of weeks in the semester (15), multiplied by the total seventh day after enrollment, whichever is later. A notice number of weeks remaining in the semester. of cancellation shall be in writing and submitted to the Registrar. The notice to cancel the Enrollment Agreement Please note: A student who has been enrolled for more will be considered effective no later than the date than nine weeks (60 percent of the term) is not eligible it is received by the Registrar. for a refund.

Withdrawal — A student who wishes to The CJC shall issue or credit refunds within 45 calendar permanently withdraw from the CJC must file a With- days of a student’s cancellation, withdrawal or comple- drawal Form with the Registrar. Withdrawal Forms are tion of the program. available from the Registrar in the Main Office. The notice to permanently withdraw will be considered effective no Upon a student’s failure to pay a debt owed to the CJC, later than the date it is received by the Registrar. permission to register for the forthcoming semester may Permanent withdrawal may be effectuated by a student’s be withheld. The CJC also reserves the right to withhold written notice or by a student’s conduct, including, but a student’s transcript until the debt and all costs not necessarily limited to, a student’s lack of attendance associated with collecting it are paid in full. (see under Code of Conduct and Attendance). Leaves of Absence All financial and academic penalties apply as of the date Students who wish to take a temporary leave of absence the notice to permanently withdraw is received by the between semesters for professional, medical or personal Registrar (see under Refunds below, and Adding, reasons must submit a request in writing to the Dean of Dropping and Withdrawing from Courses). Exceptions Instruction. Leaves of absence may not exceed two may be made for family or medical emergencies with consecutive semesters without permission from the Dean valid documentation. Please note: Students who have of Instruction. Leave of Absence Request forms may be permanently withdrawn and subsequently wish to return obtained from the Registrar in the Main Office and must to the CJC must reapply for admission as a new student be submitted to the Dean of Instruction prior to the first (see under Admission Requirements). day of instruction of the semester for which the leave is requested. Refunds — New students who cancel the Enrollment Agreement within the aforementioned timeframe may Students who wish to take a leave of absence from the obtain a 100 percent refund of charges paid less the CJC during a semester are subject to all academic and Application Fee ($100), Registration Fee ($50) and financial penalties (see under Cancellations, Withdrawals Enrollment Deposit ($100). Returning students who and Refunds and Adding, Dropping and Withdrawing cancel the Enrollment Agreement within the aforemen- from Courses) as of the date of the requested leave of tioned timeframe may obtain a 100 percent refund of absence. Exceptions may be made for family or medical charges paid less the Registration Fee ($50) and emergencies with valid documentation. Enrollment Deposit ($200). Students taking a leave of absence for more than two Refunds for students who withdraw during a period of semesters must reapply for admission as a new student attendance are calculated as follows: Students who have (see under Admission Requirements). completed 60 percent or less of the period of attendance shall receive a refund calculated on a pro rata basis. Attendance Refunds shall be calculated based on the total amount Students must attend all class meetings, rehearsals and owed by the student for the portion of the educational performances on a timely basis, barring illness or family program completed as of the date of receipt of the emergency. Chronic tardiness or failure to attend class notice of cancellation or withdrawal. regularly may adversely affect student grades; please see individual class syllabi for attendance policies specific to each course. 20 21 POLICIES

Students missing 15% or more of class time per course, “I” — Incomplete per semester, may be dropped from the course by the A student who has satisfactorily completed a substantial instructor with approval from the Dean of Instruction (a portion of the coursework may request a temporary “mandatory drop”). In the case of a mandatory drop, grade of Incomplete (“I”) if he/she is unable to complete academic and financial penalties will apply (see under a course due to circumstances beyond their control. Cancellations, Withdrawals and Refunds and Adding, Requests must be made no later than the last class Dropping and Withdrawing from Courses) as of the date meeting and are granted at the discretion of the of the requested mandatory drop, which shall be instructor. Coursework must be completed prior to submitted in writing to the Dean of Instruction for completion of the next consecutive semester to convert approval. the grade of “I” to a passing grade of “A”, “B” or “C”. Exceptions may be made with prior approval from the Grading and Academic Penalties instructor with approval from the Dean of Instruction. Grades are based on a combination of attendance, Coursework submitted after the deadline without prior progress, written assignments, exams and performances. approval will automatically result in a permanent grade of Students must maintain a cumulative grade point average “IF” and will be averaged into students” GPA as “F”. of 2.0 or higher to remain in good academic standing. The CJC adheres to the following grading scale: Adding, Dropping and Withdrawing from Courses Students wishing to add, drop or withdraw from a course A+ 100% – 99% = 4.0 must do so in writing, either by e-mailing the Registrar at A 98% – 93% = 4.0 [email protected] or by submitting an Add/Drop/ A- 92% – 90% = 3.7 Withdraw form available from the Registrar in the Main B+ 89% – 87% = 3.3 Office. B 86% – 83% = 3.0 Weeks 1 and 2: Students may add or drop courses B- 82% – 80% = 2.7 without academic penalty. No new courses may be C+ 79% – 77% = 2.3 added after week two. C 76% – 73% = 2.0 C- 72% – 70% = 1.7 Weeks 3 and 4: Students may drop courses without D+ 69% – 67% = 1.3 academic penalty. D 66% – 63% = 1.0 Weeks 5 and 6: Students may drop courses and D- 62% – 60% = 0.7 receive a “W” on their transcript (see under Grading F 59% and below = 0.0 and Academic Penalties). Weeks 7 and 8: Students may drop courses with the Please note: To advance, a student must receive a letter consent of the instructor and Dean of Instruction and grade of no less than C. A student receiving a grade of receive a “WP” (Withdrew Passing) or “WF” (With- less than “C” in a required course must retake it at his/ drew Failing) on their transcript (see under Grading her own expense and receive a grade of “C” or higher to and Academic Penalties). graduate. After week eight, students will be permitted to withdraw “W” — Withdrew from courses without academic penalty for medical or The grade of “W” is given when a student withdraws family emergencies only. Students are required to from a course within weeks 5 and 6. Please note: A “W” provide the Registrar with valid documentation for all is not factored into the calculation of a student’s grade medical or family emergencies. Students withdrawing point average, but may be of concern to a potential from courses after week eight for any reason other than a employer or a graduate school. medical or family emergency will receive the grade of “F” in those courses. “WP” — Withdrew Passing The grade of “WP” is given when a student has been Challenge Examinations granted approval for withdrawal from a course within Students may take a Challenge Examination to demon- weeks 7 – 8, and at the time of withdrawal, was passing strate their ability to meet the learning objectives of the course. A “WP” is not factored into the calculation of the following course requirements: MUS101, MUS201, a student’s grade point average, but may be of concern HAR200A, TEC100 and TEC400. Successful completion to a potential employer or a graduate school. of a Challenge Examination allows a student to waive that requirement within the undergraduate program. “WF” — Withdrew Failing The fee for taking a Challenge Examination is $275 per The grade of “WF” is given when a student has been course. Please contact the Dean of Instruction to granted approval for withdrawal from a course within schedule a Challenge Examination. weeks 7– 8, and at the time of withdrawal, was failing the course. A “WF” is not factored into the calculation of a student’s grade point average, but may be of concern to a potential employer or a graduate school.

22 23 POLICIES

Credit for Prior Experiential Learning In vocal performance classes, one hour of credit is Students entering the CJC may bring with them given for one 60-minute period of supervised instruc- a wealth of prior, non-college experiential learning in the tion. Vocal performance classes meet for a total of 3 hours field of jazz performance. Recognizing the value of these per week (3 hours supervised). Vocalists earn 3 hours of experiences, the CJC offers students the opportunity to credit for each 15-week semester of classroom work earn credit in private instruction and/or performance, plus a final exam in the form of a public performance. based on their performance and recording portfolio. • Private Instruction Credit for prior experiential learning is granted only to Private Instruction is defined as a course in a one-on-one matriculated students. The amount of credit is deter- format focusing on technique on an instrument or voice. mined and documented in writing by CJC faculty with Private Instruction faculty also prepare students for their relevant credentials. Of the first 60 semester credits, no annual juries. Students must complete fifteen 1-hour more than 15 may be awarded for prior experiential lessons within each given semester to earn one credit. learning; of the second 60 semester credits, no more than Note: Private instruction may not extend beyond the 15 semester credits may be awarded for prior experiential immediate 15-week semester. learning. The maximum number of credits awarded for prior experiential learning is 30. • Independent Study Independent Study is defined as time spent indepen- Credit is not granted based on the student’s experiences dently completing a proposed research project that per se, but rather on the student’s ability gained through extends above and beyond the parameters of the their experiences. Credit granted for prior experiential curriculum. Students are required to submit a proposal in learning must have approval from the Dean of Instruction writing to the Dean of Instruction outlining: the project and will be recorded on a student’s transcript as ‘credit scope; objectives; time frame for completion; and their for prior experiential learning.’ Students must appeal for preferred faculty advisor. In Independent Study, one hour credit for prior experiential learning via live audition or of credit is given for a minimum of one 60-minute period recorded playing sample. Students are not required to of research per week per 15-week semester. Students are pay for credits awarded for prior experiential learning. required to present the findings of their research to the public in the form of a paper, lecture/demonstration or Credit Hour Policies concert. The designated faculty advisor provides supervision three times throughout semester. An • Definition of Semester-Hour of Credit evaluation of the completed project is submitted to The semester-hour of credit represents one hour of the Dean of Instruction in writing. Students are graded classroom instruction plus a minimum of two hours of on a pass/no pass basis. work outside of the classroom for a period of 15 weeks. Short-term offerings are calculated on the same basis. • Workshops Workshops are defined as short-term courses or • Calculations for the Determination of Credit Hours programs in a lecture/laboratory format usually with a visiting artist. Credit hours for workshops are calculated Lecture Courses on the same basis as credit hours for lecture/laboratory Lecture course are defined as courses in a primarily courses i.e., one hour of credit is given for one 60-minute lecture-style format. In lecture courses, one hour of period of recitation/application. credit is given for one 60-minute period of recitation. Transfer Credit Lecture/Laboratory Courses Students who wish to transfer to the CJC must provide Lecture/laboratory courses are defined as courses that an official satisfactory academic record and have earned combine lecture with hands-on application of course an overall GPA of 2.0 or higher to be admitted to the material. In lecture/laboratory courses, one hour of CJC. credit is given for one 60-minute period of combined recitation and application. The CJC accepts the following courses for transfer: MUS101; MUS201; and the English Communication, Arts Laboratory Courses and Humanities, and Mathematics and Quantitative Laboratory courses are defined as courses in a primarily Reasoning General Studies requirements earned at any hands-on format. In laboratory courses, one hour of accredited institution. credit is given for two 60-minute periods of application.* The CJC also accepts up to 5 Elective credits relevant to * Please note: In instrumental performance ensembles, the program’s purposes earned at any accredited one hour of credit is given for one 60-minute period of institution. Please note: students must have earned a supervised instruction. Instrumental ensembles meet for grade of C or higher in all courses considered for transfer. a total of 2 hours per week. Instrumentalists in both small and large ensembles earn 2 hours of credit for each 15-week semester of classroom instruction plus a final exam in the form of a public performance. 22 23 POLICIES

NOTICE CONCERNING TRANSFERABILITY Injury Prevention OF CREDITS AND CREDENTIALS EARNED The California Jazz Conservatory places great importance AT OUR INSTITUTION on the prevention of injury resulting from activities inherent in the life of a musician. These include but are The transferability of credits you earn at the California not limited to practicing, performing and/or listening, as Jazz Conservatory is at the complete discretion of an related to both vocal and musculoskeletal health. Injury institution to which you may seek to transfer. Acceptance prevention is specifically addressed in the following of the degree you earn in Jazz Studies is also at the courses: Audio for Live Performance (required); Yoga complete discretion of the institution to which you may for Musicians (elective); Vocal Technique for Instrumental- seek to transfer. If the degree that you earn at this ists (elective); and the Alexander Technique (elective). institution is not accepted at the institution to which you Injury prevention is also addressed in instrumental and seek to transfer, you may be required to repeat some or vocal private instruction (required). all of your coursework at that institution. For this reason you should make certain that your attendance at this institution will meet your educational goals. This may include contacting an institution to which you may seek to transfer after attending the CJC to determine if your degree will transfer.

Student Grievances Students with complaints regarding their academic progress must first discuss the issue with their instructor. If the issue is not resolved to their satisfaction, they may file a grievance with the Dean of Instruction in writing. Students may contact the Bureau of Private Postsecondary Education at any time at 888.370.7589 or complete a complaint form which can be obtained at the Bureau’s website: bppe.ca.gov.

Student Right to Privacy Matriculated students are afforded the following rights regarding access to and privacy of their personal information and educational records: 1. Students have the right to inspect and review the education record maintained by the CJC through the Office of the Registrar.

2. Students have the right to request that the Registrar correct any records they believe to be inaccurate or misleading. The Dean of Instruction shall serve as mediator should information be contested. If the Dean of Instruction deems the request to amend a record unfounded, students have the right to place a written statement in their file, documenting their position.

3. Students have the right to privacy regarding any personal information including but not limited to informa- tion provided on their application, dates of attendance, grading, scholarship awards and/or financial assistance. The CJC must have written permission on file from the student to release any information from a student’s record.

24 25 THE BACHELOR OF MUSIC DEGREE IN JAZZ STUDIES

BACHELOR OF MUSIC Students advancing to the next class level who do CURRICULUM REQUIREMENTS not take or pass a jury at the end of that semester will be placed on Jury Probation. While on Jury Instrumentalists — The CJC awards the Bachelor Probation, students may take classes for one of Music degree in Jazz Studies to instrumental additional semester, and must take and pass their students who satisfactorily complete 134 – 136 jury at that end of that term in order to enroll in credits of study divided among: a) core music future semesters. Students who do not pass the courses / 89 credits (pianists) / 91 credits (non- required jury at the end of their probationary pianists); b) elective courses (15 credits); and c) semester will be dismissed. general studies courses (30 credits). (See Curricu- lum Requirements Templates for more information.) Senior Project Graduating seniors must complete a Senior Project Vocalists — The CJC awards the Bachelor of Music comprising a performance of original compositions degree in Jazz Studies to vocal students who and/or arrangements in a full length concert open satisfactorily complete 136 credits of study divided to the public. among: a) core courses (91 credits); b) elective courses (15 credits); and c) general studies courses Performance (30 credits). (See Curriculum Requirements The Jazz Studies undergraduate degree program Templates for more information.) has performance at its center.

Residency Requirements Instrumentalists are required to take a total of 20 All instrumentalists and vocalists are required to credits of performance ensembles including jazz complete a minimum of 34 credits in residence (10), Afro-Caribbean (2), Brazilian (2), Indian (2) during their junior and/or senior year at the CJC. and elective (4). Instrumentalists may also use 4 Juries elective credits toward performance ensembles. Students are required to take four juries over the course of their studies at the CJC as they move Vocalists are required to take a total of 22 credits from one class level — e.g. Freshman or Sophomore of performance courses in both solo and ensem- — to the next. The purpose of these juries is to ble formats. Repertoire covers a wide range of evaluate students’ progress in private instruction, styles from the Great American Songbook to and to confirm their mastery of the material covered contemporary jazz, world and popular music. in the CJC’s core Jazz Theory and Improvisation Vocalists may also use 4 elective credits toward and Ear Training and Sight Singing curriculum. performance ensembles.

The timing of juries correlates with class level. Public performance is an integral component of Students must take a jury when advancing in class students’ tenure at the CJC. Students perform level to continue their studies at the CJC. Class for the public a minimum of twice per year. level is determined by the total number of credits Performances include concerts at the CJC, dates earned towards their degree: students who have at clubs throughout the Bay Area, and appear- earned between 0 and 34 credits are considered ances at specially scheduled events. Freshmen, and so on as shown below. Additionally, students may attend over one hundred concerts scheduled at the CJC through- Credits completed Class Level out the year free of charge. The CJC Concert 0 – 34 Freshman Series features a range of local, national and 35 – 68 Sophomore international artists. Visiting artists of note have 69 – 102 Junior included the Heath Brothers, Theo Bleckmann, 103 + Senior Kenny Werner, Taylor Eigsti, Peter Erskine, Pete Escovedo, Paula West, John Zorn, Geoffrey Keezer, Ambrose Akinmusire and many others.

24 25 BACHELOR OF MUSIC DEGREE PROGRAM

Vocalists are required to take a total of 28 credits Core Music Courses: Vocal Track of performance courses in both solo and ensem- Vocalists are required to take 91 credits of the ble formats. Repertoire covers a wide range of following Core Music Courses: 22 credits of stylisti- styles from the Great American Songbook to cally varying performance courses over eight contemporary jazz, world and popular music. semesters including: Vocal Performance (12 credits); Vocalists may also use 4 elective credits toward Vocal Jazz Ensemble (4 credits); and Instrumental performance ensembles. (See Instrumental and Performance Ensembles (6 credits). Note: 4 addi- Vocal Curricula.) tional Elective credits may be applied to perfor- mance. Additional required courses include: Ear Public performance is an integral component of training and Sight-singing (12 credits); Keyboard students’ tenure at the CJC. Students perform Proficiency (2 credits); Jazz Theory and Improvisation for the public a minimum of twice per year. (12 credits); Single Line Soloing (6 credits); Jazz Performances include concerts at the CJC, Composition (3 credits); The Great American dates at clubs throu ghout the Bay Area, and Songbook (2 credits); Lyric Writing (2 credits); appearances at specially scheduled events. Western European Harmonic Practice (6 credits); Western European Music History (6 credits); Music Additionally, students may attend over one Technology (5 credits); Business of Music (4 credits); hundred concerts scheduled at the CJC throughout Private Instruction (8 credits); and Senior Project the year free of charge. The CJC Concert Series (1 credit). features a range of local, national and international artists. Visiting artists of note have included the Electives Heath Brothers, Theo Bleckmann, Kenny Werner, All students are required to complete 15 credits Taylor Eigsti, Peter Erskine, Quartet San Francisco, of elective courses in fulfillment of requirements Pete Escovedo, Paula West, John Zorn, Geoffrey for the Bachelor of Music degree. Students may Keezer, Ambrose Akinmusire and many others. transfer up to 5 degree-relevant elective credits from any accredited institution on a by-approval Core Music Courses: Instrumental Track basis by the Dean of Instruction. Note: 4 elective Instrumentalists are required to take 91 (non- credits may be taken as Independent Study; pianists) / 89 (pianists) credits of the following Core 4 elective credits may be taken as Performance. Music Courses: 20 credits of stylistically varying performance ensembles over eight semesters General Studies Courses including: Jazz Repertoire Ensemble (10 credits A range of General Studies courses is offered at of PRF100-400 series); Latin American Ensemble the CJC. The CJC also accepts select General (2 credits of PRF030 series); Brazilian Jazz Ensemble Studies requirements/electives from any accredited (2 credits of 040 series); Indian Ensemble (2 credits institution. Tuition for General Studies courses at of 050 series); and ensembles of their choice other institutions is additional. (4 credits). Note: 4 Elective credits may be applied toward performance ensembles. Additional required All students are required to take 30 credits of General Core music courses include: Ear Training and Studies courses. General Studies requirements Sight-Singing (12 credits); Keyboard Proficiency (2 include: English Communication (6 credits); Social credits); Jazz Theory and Improvisation (15 credits); Sciences (12 credits); Arts and Humanities (6 credits); Form and Analysis of Jazz Standards (2 credits); Jazz Mathematics and Quantitative Reasoning (3 credits); Composition (3 credits); Jazz Arranging (3 credits); and Physical Sciences (3 credits). (See Department Latin American Roots of Jazz (2 credits); Jazz and of General Studies beginning on page 51.) Cross-Cultural Practice (2 credits); Western European Please note: the Social Sciences and Physical Harmonic Practice (6 credits); Western European Sciences General Studies requirements are not Music History (6 credits); Music Technology transferable from another institution. These (5 credits); Business of Music (4 credits); Private requirements must be fulfilled at the CJC. Instruction (8 credits); and Senior Project (1 credit).

26 27 BACHELOR OF MUSIC DEGREE PROGRAM

Independent Study ASSOCIATE OF ARTS Independent Study affords junior- and senior- CURRICULUM REQUIREMENTS standing students an opportunity to independently undertake special research-oriented projects Instrumentalists — The CJC awards the A.A. extending above and beyond the parameters degree in Jazz Studies to instrumental students who of the curriculum. satisfactorily complete 66-68 credits of study divided among: a) core music courses 42 credits (pianists) / Students may apply up to 4 elective credits to 44 credits (non-pianists); b) elective courses (6 credits); Independent Study. Students interested in pursu- and c) general studies courses (18 credits). (See ing Independent Study are required to submit a under Curriculum Requirements Templates.) proposal in writing to the Dean of Instruction outlining the project scope, objectives, time frame Vocalists — The CJC awards the A.A. degree in for completion and their preferred faculty advisor. Jazz Studies to vocal students who satisfactorily complete 68 credits of study divided among: a) Upon approval, students are required to sign a core courses (48 credits); b) elective courses (2 contract with their advisor agreeing to complete credits); and c) general studies courses (18 credits). the project. A letter grade is issued based upon (See under Curriculum Requirements Templates.) completion of projected objectives within the proposed timeframe. Residency Requirements Instrumentalists and vocalists are required to Keyboard Proficiency complete a minimum of 17 credits in residence All students must demonstrate a basic level during their third and fourth semesters at the CJC. of keyboard proficiency to graduate, either by completing Beginning Piano for Non-Pianists Juries and Jazz Piano for Non-Pianists, or by passing an Students are required to take two juries over the equivalent keyboard proficiency exam. Keyboard course of their studies at the CJC: the first at the proficiency exams are given on a to-be-arranged end of the first year, and the second at the end of basis throughout the year. the second year. The purpose of these juries is to evaluate students’ progress in private instruction, Workshops and Master Classes and to confirm their mastery of the material Students have the opportunity to attend a broad covered in the Jazz Theory and Improvisation range of specialized short-term workshops taught and Ear Training and Sight Singing curricula. by local and visiting artists throughout the year. Previous workshops by visiting faculty include Students must take a jury when advancing in class Bobby McFerrin, Geoffrey Keezer, Christian level to continue their studies at the CJC. Class McBride, Kurt Elling, Jeff “Tain” Watts, Nancy level is determined by the total number of credits King, Ron Carter, Dave Weckl, Nnenna Freelon, earned towards their degree: students who have Matt Wilson, Rudresh Mahanthappa, Dafnis Prieto, earned between 0 and 34 credits are considered Winard Harper, Taylor Eigsti, Donald Harrison, Uri Freshmen; students who have earned between 35 Caine and others. In addition to attending master and 68 Credits are considered Sophomores. classes, students often have the opportunity to schedule private lessons with visiting artists. The

cost of private lessons with visiting artists varies Credits Completed Class Level and is on a to-be-arranged basis between the student and artist. 0 – 34 Freshman 35 – 68 Sophomore

26 27 THE ASS0CIATE OF ARTS DEGREE IN JAZZ STUDIES

Performance Electives Instrumentalists are required to take a total of 12 Instrumentalists – Instrumentalists are required to credits of performance ensembles including jazz (4), complete 6 credits of elective courses. Students Afro-Caribbean (2), Brazilian (2), Indian (2) may transfer up to 5 degree-relevant elective and elective (2). Instrumentalists may also use 4 credits from any accredited institution on a Elective credits toward performance ensembles. by-approval basis by the Dean of Instruction.

Vocalists are required to take 12 credits of Vocal Vocalists – Vocalists are required to complete Performance. Repertoire covers a wide range of 2 credits of elective courses in fulfillment of styles, from the Great American Songbook to requirements for the A.A. degree. Students may contemporary jazz. Vocalists may use 2 Elective transfer up to 2 degree-relevant elective credits credits toward performance ensembles. from any accredited institution on a by-approval basis by the Dean of Instruction. Students perform for the public a minimum of twice per year. Performances include concerts at the CJC, General Studies Courses dates at clubs throughout the Bay Area, and Students are required to take 18 credits of General appearances at specially scheduled events. Studies courses. General Studies requirements include: English Communication (6 credits) and Additionally, students may attend concerts sched- Social Sciences (12 credits). (See Department of uled at the CJC throughout the year, free of charge. General Studies, page 51.) The CJC Concert Series features a range of local, national and international artists. The CJC accepts the English Communication General Studies requirements from any accredited Core Music Courses: Instrumental Track institution. Tuition for General Studies courses at Instrumentalists are required to take 44 (non- other institutions is additional. Note: the Social pianists) / 42 (pianists) credits of the following Core Sciences requirement is not transferable from Music Courses: 12 credits of stylistically varying another institution. This requirement must be performance ensembles over four semesters fulfilled at the CJC. including: Jazz Repertoire Ensemble (4 credits of PRF100-400 series); Latin American Ensemble Keyboard Proficiency (2 credits of PRF030 series); Brazilian Jazz ensemble All students must demonstrate a basic level of (2 credits of 040 series); Indian Ensemble (2 credits keyboard proficiency to graduate, either by of 050 series); and an ensemble of their choice (2 completing Beginning Piano for Non-Pianists credits). (Note: Students may also use 4 Elective and Jazz Piano for Non-Pianists, or by passing credits toward Performance.) Additional required an equivalent keyboard proficiency exam. Core courses include: Ear Training and Sight-Sing- ing (12 credits); Keyboard Proficiency (2 credits); Workshops and Master Classes Jazz Theory and Improvisation (12 credits); Music Students have the opportunity to attend a broad Technology (2 credits); and Private Instruction range short-term workshops – two, free of charge (4 credits). – taught by local and visiting artists throughout the year. Students may schedule private lessons with Core Music Courses: Vocal Track visiting artists on a to-be-arranged basis between Vocalists are required to take 48 credits of the student and artist. following Core Music Courses: Vocal Performance (12 credits); (Note: Students may use 2 Elective credits toward Performance.) Additional required courses include: Ear training and Sight-singing (12 credits); Keyboard Proficiency (2 credits); Jazz Theory and Improvisation (12 credits); The Great American Songbook (2 credits); Lyric Writing (2 credits); Music Technology (2 credits); and Private 28 Instruction (4 credits). 29 COURSE DESCRIPTIONS

Course Numbering MUS104 The 100- and 200-numbered courses are lower Drum Set Technique for Non-Drummers division courses. The 300- and 400-numbered 2 credits, 2 hours lecture/lab courses are upper division courses. Basic drum set technique as applied to jazz and related styles of music. All instruments and voice. MUSICIANSHIP MUS105 MUS100A, MUS100B, MUS200A Introduction to Mallet Percussion and MUS200B 1 credit, 1 hour lecture/lab Ear Training and Sight-Singing A hands-on introduction to the fundamentals 3 credits, 3 hours lecture/lab of mallet percussion technique. Topics covered A four-semester course designed to develop aural include basic types and styles of strokes, bar and visual perception of rhythmic, melodic and placement, and vibraphone pedaling and harmonic components of music. Course material dampening, as applied to both two- and four- is jazz-based. mallet playing. Prerequisites: MUS101 or equiva- lent. No prior stick technique required. MUS101 Keyboard Proficiency — MUS201 Piano for Non-Pianists Keyboard Proficiency — 1 credit, 1 hour lecture/lab Jazz Piano for Non-Pianists Entry-level keyboard technique for non-pianists 1 credit, 1 hour lecture/lab covering scales, reading and playing basic An introduction to jazz piano technique addressing repertoire. Serves as prerequisite for MUS201. voicings, voice leading, soloing and comping, as applied to standard jazz repertoire. Useful for MUS102 composing and arranging. Prerequisites: MUS101 Individual Tutorial or consent of instructor. 1 credit, 1 hour lecture/lab Individual supplemental instruction in a wide range MUS202 of areas, including but not limited to a secondary Sight Reading Workshop instrument, musicianship, theory, harmony, 1 credit, 1 hour lab composition, arranging and history. Students A lab focusing on developing sight reading may take up to 4 elective credits of MUS102. skills relevant to the jazz music genre. Open Please note: MUS102 may not substitute for to instrumentalists and vocalists. a requirement.

MUS103 Introductory Music Theory and Ear Training 3 credits, 3 hours lecture/lab An introductory elective course taken on a pass/no pass basis designed to strengthen knowledge of music theory and aural skills. Successful completion of this course qualifies students for enrollment in THE100A and MUS100. Highly recommended for drummers and vocalists.

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MUS204 MUS300A and MUS300B The Application of Eurhythmics Advanced Musicianship to Jazz Repertoire 3 credits, 3 hours lecture/lab 2 credits, 2 hours lecture/lab A continuation of MUS200B. Designed to further Interpreting distinct rhythmic and melodic aspects develop aural and visual perception of advanced of select repertoire through coordinated physical rhythmic, melodic and harmonic material. Includes movement and the voice. Instrumentalists and sight singing, sight reading, rhythm, interval and chord vocalists gain a deeper understanding of the recognition, and transcription. rhythmic and melodic underpinnings of significant Prerequisite: MUS200B. jazz and related repertoire to facilitate performance. Students are advised to wear comfortable clothing MUS301 to class. Improvisation “Games” 2 credits, 2 hours lecture/lab MUS205 Exercises in “game” form designed to develop cre- Chart Reading Workshop for Drummers ative and conceptual approaches to improvisation. 3 credits, 3 hours lecture/lab A hands-on workshop for drummers designed to MUS308 develop proficiency in sight reading and interpret- Drum Grooves and Solos in Odd Meters ing standard lead sheets and drum charts for both 2 credits, 2 hours lecture/lab large and small ensemble. Students work with A class focusing on grooves and solos over odd and pre-recorded jazz, funk, Latin, pop, rock, fusion mixed meters as applied to jazz and funk genres. and show arrangements. Covers articulations, Students study approaches embodied set-ups, fills, tempo modulation, negotiating stick by groups including Dave Brubeck, Mahavishnu changes and utilizing the click track. Orchestra, Dave Holland, Sting, Brad Mehldau and the Pat Metheny Group among others. MUS207 Double Bass Ensemble Workshop MUS309 2 credits, 2 hours lecture/lab Fusion Drumming Styles and Techniques A course designed to develop technical 2 credits, 2 hours lecture/lab facility through select repertoire for double Fusion drumming styles and techniques from the bass ensemble. sixties to the present. Students learn the stylistic and technical approaches utilized by fusion masters Tony MUS208 Williams, Steve Gadd, Dave Garibaldi, Bernard Purdie, Gypsy Jazz Guitar Styles and Techniques Peter Erskine, Billy Cobham, Clyde Stubblefield, Alex 2 credits, 2 hours lecture/lab Acuna, Steve Smith among others who blended the Analysis and practical application of the stylistic power of rock, the syncopation of funk and the finesse and technical aspects of gypsy jazz guitar style and technique of jazz into their respective personal from Django Reinhardt to the present. styles. Techniques include odd meters, linear drumming, An acoustic guitar (played with a pick) funk independence and the all-important ghost notes. is required. MUS110 MUS209A and MUS209B Vocal Technique for Instrumentalists Practical Applications for the Rhythm Section 1 credit, 1 hour lecture/lab 2 credits, 2 hours lecture/lab An introduction to vocal technique and song A two-semester hands-on, interactive course for interpretation. Repertoire includes the pianists, guitarists, bassists and drummers focusing Great American Songbook and standard on rhythmic considerations relevant to the rhythm and contemporary jazz. Covers basic stage section. Course covers the role of the individual presence and microphone technique. and the rhythm section as applied to jazz, Afro- Instrumentalists may take up to 2 credits Caribbean, South American and World music styles of Vocal Technique for Instrumentalists. past and present.

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MUS150 MUS250 Introduction to North Indian Tabla North Indian Music Fundamentals 2 credits, 2 hours lecture/lab Through Voice An introductory course focusing on proper posture, 2 credits, 2 hours lecture/lab tone production and hand and finger techniques A general overview of the styles, forms and practices required for the practice of Indian percussion. of the traditional North Indian vocal tradition. Open Students learn the fundamentals of North Indian to both vocalists and instrumentalists, this course rhythmic concepts through exercises and classical includes participatory singing, familiarization with the compositions, and master complex Indian rhythmic Indian solfège system, exploration of the melodic cycles through the recitation of vocal percussion concepts of raga, and the rhythmic concepts of tala. syllables. Soloing, arranging, and compositional Prerequisites: Musicianship 100B. concepts are also applied to jazz and other styles of music. Open to instrumentalists and vocalists. MUS180 Prerequisites: Students must own or rent tabla. Roots Guitar Styles and Techniques Tabla may be purchased or rented from the Ali for Non-Guitarists Akbar College Store in Berkeley (aacmstore.org). 1 credit, 2 hours lab An entry-level course in the fundamentals of roots MUS130 guitar styles and techniques for non-guitarists. Introduction to Afro-Latin Percussion Styles and Techniques MUS280 2 credits, 3 hours lab Traditional Fiddle Styles and Techniques A hands-on introductory course focusing on Afro- 2 credits, 2 hours lecture/lab Latin percussion styles and techniques. Emphasis Traditional fiddle styles and techniques, including on rhythms specific to Afro-Latin music as applied old-time, Celtic, Cajun and bluegrass. Open to violin, to congas, timbales, bongos, güiro, maracas, viola, cello and bass. chekere, and cajón, among other Afro-Latin percussion instruments. Prerequisites: the ability to MUS190A and MUS190B read rhythmic notation. Yoga for Musicians 1 credit, 1 hour lab MUS240 A course for musicians to strengthen mind, body and Brazilian Jazz Guitar Styles and Techniques spirit. Warm-ups, stretches and posture exercises 2 credits, 2 hours lecture/lab elective alleviate the aches and pains that can result from The intersection of various styles of Brazilian music playing; breathing techniques increase lung capacity (samba, bossa nova, baião, frevo and choro among and reduce stress; and meditation eases performance others) with jazz and their application to the guitar. anxiety and promotes greater awareness of the Open to all guitarists: acoustic and electric, nylon moment. and steel string, pick and fingerstyle. MUS191 MUS241 Alexander Technique Brazilian Jazz Bass Styles and Techniques 2 credits, 2 hours lecture/lab 2 credits, 2 hours lecture/lab elective A hands-on introduction to the Alexander Technique, A hands-on course focusing on essential Brazilian a method used by musicians worldwide to prevent and jazz bass styles, including samba, partido alto, resolve playing-related injuries, pain and/or stage samba funk, baião, maracatu and calango. Stu- fright. Inappropriate muscular tension and unconscious dents also learn corresponding drum patterns. habits of misuse can interfere with technical facility, Repertoire by Brazilian masters, including Jobim, sound quality, freedom of expression and the joy of Regina, Donato, Pinheiro, Bosco, Moreira, Horta, playing music. The Alexander Technique enables Silva and more. instrumentalists and vocalists to develop poise and ease of movement in practice and performance.

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THEORY THE300B Advanced Transcription and THE100A, THE100B, THE200A and THE200B Analysis of the Jazz Masters Jazz Theory and Improvisation 3 credits, 3 hours lecture/lab 3 credits, 3 hours lecture/lab A continuation of THE300A Jazz Theory and A four-semester course covering jazz theory and Improvisation, focusing on transcription and improvisation techniques and styles based on the analysis of more challenging works by jazz artistic practice of jazz masters, from the early masters. twentieth century innovations of Louis Armstrong, to the contemporary artistry of Herbie Hancock THE301 and beyond. Students gain a solid understanding Form and Analysis of Jazz Standards of jazz theory and improvisation, from the 2 credits, 2 hours lecture/lab fundamentals to chord/scale theory, soloing, A course in an ensemble format focusing on form reharmonization, and transcription and analysis. and analysis of jazz standards essential Theoretical concepts are illustrated with select to the professional musician. Prerequisite: recordings of leading jazz artists and applied to THE200B or concurrent enrollment. relevant exercises and repertoire in class. This course lays important groundwork critical THE302 in the development of individual style. Polyrhythms and Odd Rhythm Groupings 2 credits, 2 hours lecture/lab THE201 The nature and history of polyrhythms and odd Introduction to Jazz Transcription rhythm groupings and their application to compo- 1 credit, 1 hour lecture/lab sition and improvisation. All instruments and voice. An introduction to techniques for transcribing jazz Prerequisites: MUS100A and THE100A melodies, rhythms, and chord progressions. Transcribing assignments increase in level of THE305 difficulty throughout the semester. This course 21st Century Trends and Aesthetics in Jazz serves as an optional prerequisite for THE200B, 2 credits, lecture — elective which involves advanced level transcription. Analysis of work by seminal jazz artists from 2000 to the present, focusing on their signature THE300A rhythmic, harmonic and melodic innovations Advanced Jazz Theory and Improvisation and artistic influences. Artists covered include Brad Mehldau, Rudresh Mahanthappa, Gilad 3 credits, 3 hours lecture/lab Hekselman and Gretchen Parlato, among others. An introduction to the harmonic and melodic Prerequisites: THE200B and HIS200A approaches David Liebman innovated and expanded in his seminal book A Chromatic THE205A, THE205B Approach to Jazz Harmony. Beginning with John Coltrane and the second Miles Davis quintet (who Single Line Soloing for Instrumentalists independently began developing an advanced jazz 3 credits, 3 hours lecture/lab language of chromaticism in the 1960s), this course A course for instrumentalists focusing on develop- addresses the work of David Liebman, along with ing single line soloing techniques idiomatic to the Michael Brecker, Chick Corea and others who later bebop and post-bop traditions. Includes analysis that decade moved it to a new level of sophisti- and performance of key transcriptions of bebop cated control of consonance and dissonance that and post-bop masters as well as in-class applica- remains the gold standard for controlled harmonic tion of the fundamental devices employed in tension and release, most commonly known as modern jazz improvisation. Prerequisites: MUS201 “playing in and out of the changes.” Prerequisite: and THE100B. THE200B or consent of instructor.

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THE315A, 315B THE251 Single Line Soloing for Vocalists Traditional South Indian Rhythmic 3 credits, 3 hours lecture/lab Concepts for the Jazz Musician A course for vocalists (or instrumentalists who wish 3 credits, 3 hours lecture/lab to participate as vocalists) focusing on developing An in-depth exploration of traditional rhythmic single line soloing techniques idiomatic to the concepts from the South Indian system of classical bebop and post-bop traditions. Includes analysis music. Through the medium of vocal percussion and performance of key transcriptions of bebop syllables known as solkattu, students are intro- and post-bop masters as well as in-class applica- duced to Indian rhythmic idioms such as tala tion of the fundamental devices employed in (rhythmic cycles), nadai (odd subdivisions of the modern jazz improvisation. Prerequisites: MUS201 beat), layakari (rhythmic modulation), and mora and THE100B. (thrice-repeated cadential phrases used to end a musical idea). Students learn traditional Indian THE330 rhythmic compositions drawn from the repertoire Latin Jazz Theory and Improvisation of classical Indian percussion instruments such 3 credits, 3 hours lecture/lab as tabla, mridangam, kanjira, ghatam, thavil, and Latin jazz theory and improvisation techniques and morsing. Emphasis is placed on pointing out the styles based on the artistic practice of Latin jazz cross-cultural applications of Indian rhythms to masters, from the early twentieth century innova- any instrument and any style of music, enriching tions of Arsenio Rodriguez to the contemporary students’ compositional and improvisational skills. artistry of Eddie Palmieri and beyond. Students gain an understanding of Latin jazz theory and improvisation, from the rhythmic fundamentals, HARMONY including the function of clave, to chord/scale theory, soloing, reharmonization, and transcription HAR390A and analysis. Theoretical concepts are illustrated Western European Harmonic with select recordings of leading Latin jazz artists Practice from 1600 to 1820 and applied to relevant exercises and repertoire 3 credits, 3 hours lecture in class. This course lays groundwork critical Focusing on compositions from the Baroque and in the development of individual style. Classical periods, this first-semester course covers Prerequisites: THE200B or concurrent enrollment. preparatory material for the study of harmony, figured bass, harmonization of melodies, voice THE250 leading, cadences, theory of chord progression, Traditional North Indian Rhythmic chord progressions in the diatonic major and Concepts for the Jazz Musician minor, chord inversions, and an introduction 3 credits, 3 hours lecture/lab to analysis. An in-depth exploration of traditional rhythmic concepts from the North Indian system of classical HAR390B music. Through the medium of vocal percussion Western European Harmonic syllables known as bols, students are introduced Practice from 1820 to the Present to Indian rhythmic idioms such as tala (rhythmic 3 credits, 3 hours lecture cycles), layakari (rhythmic modulation), and tihai Focusing on compositional styles of the Romantic (thrice-repeated cadential phrases used to end and Contemporary Periods, this second-semester a musical idea). Students learn traditional Indian course covers formal analysis, advanced techniques rhythmic compositions drawn from the repertoire related to sequences, mixture, Neapolitan chords, of classical North Indian percussion instruments augmented 6th chords, diatonic and chromatic such as tabla and pakhawaj. This class delves into modulation, and twelve-tone techniques. the history and theory of North Indian rhythm as well as its influence on jazz over the last 50 years. Emphasis is placed on pointing out the cross- cultural applications of Indian rhythmic concepts to any instrument and any style of music, enriching students’ compositional and improvisational skills. 32 33 COURSE DESCRIPTIONS

HAR390C COM400 20th Century Harmony Jazz Composition Seminar 3 credits, 3 hours lecture 3 credits, 3 hours lecture/lab A course examining works by the major composers A continuation of COM300. A seminar addressing of western art music from the beginning of the advanced composition techniques and their 20th century to today. Analysis of the theories practical application in performance. behind various post-tonal approaches. Coursework Prerequisite: COM300 or consent of instructor. focuses on short composition exercises utilizing the various practices studied. Emphasis is on integrat- COM301A ing these tools into students’ own work. The final Jazz Arranging — Small Ensemble project is a short composition read by a profes- 3 credits, 3 hours lecture/lab sional ensemble. Prerequisites: HAR390B. Concur- A one-semester introductory course on basic jazz rent enrollment in PRF390 also recommended. arranging techniques for the small ensemble. Students learn ranges and characteristics of instru- ments, rules for notating rhythm, how to lay out a COMPOSITION score, how to write for the rhythm section, how to compose melodies and chord progressions, how COM210 to set a melody to chords, how to voice chorale-style Lyric Writing chords, how to harmonize a moving melodic line 2 credits, 2 hours lecture/lab with two to five voices, and various ways of A course focusing on the various techniques addressing form. Students are assigned three utilized by lyricists including Great American to five arranging projects. The final project is Songbook legends Lorenz Hart, Cole Porter and an arrangement for five horns and rhythm section Howard Dietz; vocalese wordsmiths Jon Hendricks, that is recorded. Annie Ross, Kurt Elling and King Pleasure; and popular songwriters Joni Mitchell and Sting. COM301B Students build a repertoire of original lyrics set Jazz Arranging — Large Ensemble to select instrumental works as well as their 3 credits, 3 hours lecture/lab own compositions. Open to vocalists and instru- A one-semester introductory course on basic jazz mentalists. Prerequisites: Concurrent enrollment in arranging techniques for the large ensemble. PRF110A and PRF210A required. Students review ranges and characteristics of instruments, rules for notating rhythm, how to lay COM300 out a score, how to voice chorale-style chords, and Jazz Composition how to harmonize a moving melodic line with five 3 credits, 3 hours lecture/lab voices. Through analysis of works by the masters A concentrated writing course utilizing the from Duke Ellington to Maria Schneider, students compositional styles and techniques of the master also explore different techniques for large scale composers as points of departure in creating new development of form, chord voicings for more than work. Composers studied include Ellington, Parker, five horns and large ensemble texture and orches- Silver, Mingus, Monk, Coltrane, Hancock, Hender- tration techniques. Required text: Inside the Score, son, Shorter, Brecker, Liebman, Grolnick, Pastorius, by Rayburn Wright. Students are assigned three Towner and more. Melodic, harmonic and rhythmic arranging projects. All assignments must be techniques employed in the music of Mozart, completed on a program such as Finale or Beethoven, Brahms, Debussy and other relevant Sibelius. The final project is an arrangement for past masters are also examined and applied to full big band. Prerequisite: COM301A or consent students’ work. of instructor.

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COM390 HIS100A Counterpoint Jazz History — The Roots of Jazz 2 credits, 2 hours lecture/lab and Early Jazz, Pre-1900 – 1919 Contrapuntal techniques and styles of seven- 3 credits, 3 hours lecture teenth- and eighteenth-century instrumental and This course examines the influences of West vocal music, providing a solid foundation for voice African, Caribbean, South American, Asian and leading. Includes the writing of cantus firmus, European music and culture on the development two- and three-part species counterpoint, and of jazz pre-1900, and on the early music of New combined species in three voices, in major and Orleans that became known to the world as jazz minor modes. Analysis of a range of important by 1917. The course focuses on the West African contrapuntal work including the canons, inventions conceptual approaches, practices, and cultural and fugues of J.S. Bach. conventions that form the foundation of jazz, and its origins in spirituals, blues, ragtime and other African American sacred and secular music. The HISTORY development of jazz is studied within the historical context of American social forces including Jazz History post-bellum segregation, the industrial boom and A four-semester course examining the musical and the Great Black Migration, World War I, and the cultural development of jazz, from its antecedents invention of the radio and sound recordings. in the musical cultures of West Africa, Western Europe and the New World, to the music that is HIS100B performed internationally today. Through extensive Jazz History — Style and Culture listening, reading and discussion, students gain a in America from 1920 – 1939 solid understanding of jazz, a twentieth-century 3 credits, 3 hours lecture urban dance music that has become globally A survey of early jazz styles from the Jazz Age of celebrated as a cultural art form embodying the Prohibition era through the reign of the swing the ideals of freedom and democracy. bands and the jitterbug. The music of Louis Armstrong, Duke Ellington, Count Basie, Ella HIS100A – 200B fulfills the CJC Social Sciences Fitzgerald and many others is studied within the requirement. Please note: the Social Sciences contexts of the post-World War I economic boom, requirement is not transferable from another the Great Depression, ballrooms and big bands, institution. This requirement must be fulfilled the rise of sound motion pictures, American at the CJC. musical theater and the Great American Song- book, among other socioeconomic and cultural touchstones. Prerequisite: HIS100A.

loved jazz before your tutelage, but now I know it is my responsibility to I preserve the tradition and set the record straight for those who do not know the foundations of American music. Jazz is life and jazz is freedom. I wouldn’t have ever quite understood that without your many impassioned efforts. Thank you for the foundation you have given me. I won’t take it for granted and hope the fates allow you and me to continue to cross paths. With the road I’m on, I have no doubts.

— CJC student Simon Petty, reflecting on the jazz history course he took with Dr. Anthony Brown

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HIS200A HIS110 Jazz History — Style and Culture The Great American Songbook: in America from 1940 – 1959 The Jazz Standard 3 credits, 3 hours lecture 2 credits, 2 hours lecture/lab This course explores jazz as an art form, with a An overview of the evolution of The Great Ameri- focus on the musical innovations of modern jazz can Songbook — the canon comprising American through the beginnings of free jazz. Styles popular songs written originally for musical theatre including bebop, hard bop, funk, Latin jazz, cool and later film between 1920 –1950. Now the jazz, and other styles created by Dizzy Gillespie, cornerstone of modern jazz, the repertoire of the Thelonious Monk, Miles Davis, Max Roach, the Great American Songbook arose during the decade Modern Jazz Quartet, Art Blakey’s and Horace of the Jazz Age, The Great Depression, WWII and Silver’s Jazz Messengers, Ornette Coleman and the unprecedented economic growth that took many of their collaborators are examined, focusing place in 1950s America. This singular body of work on instrumental grouping, structural, harmonic and manifested hope, built morale, eased social rhythmic creativity, and folk influences. Students barriers and reflected our country’s promise for draw connec­tions between the mid-century the future. Students examine the lives and perform impact of World War II, the Atomic Age and the the work of the central composers of this period, Cold War, the hegemony of television, advertising, including Jerome Kern, Irving Berlin, George the burgeoning Civil Rights Movement and other Gershwin, Cole Porter, Duke Ellington, Richard historical epochs upon the evolution of jazz. Rogers and Harold Arlen among others. Note: This Prerequisite: HIS100B. course serves as a requirement for vocalists and is a highly recommended elective for instrumentalists. HIS200B Prerequisites: Concurrent enrollment in PRF110A Jazz History — Style and Culture and PRF210A required. in America from 1960 – Present 3 credits, 3 hours lecture HIS261 This course surveys the range of idioms and History of Funk subgenres of post-Coltrane jazz, particularly the 3 credits, 2 hours lecture evolution of free jazz with the AACM, the 1970s A course tracing the history of funk, the R&B-based New York Loft Scene, jazz in Europe, the music and genre that originated in the 1960s. Influencing a ideas of Wynton Marsalis juxtaposed with the elec- wide range of musics including gospel, rock, jazz, tronic fusion music of Miles Davis and his collaborators, hip-hop, Afro-Caribbean and South American, funk Herbie Hancock, Weather Report, Chick Corea and also reflected the radical social change of the 60s others, and the return of jazz to its dance origins. and 70s, including the struggles for Civil Rights, The steady influx of global influences from Black Power, Women’s Rights, Gay Rights and the traditional and contemporary musicians from Africa, emergence of alternative cultures. Artists and bands Asia, and the New World continues to infuse a covered include Ray Charles, James Brown, Sly and diverse range of compositional styles, forms and the Family Stone, Ohio Players, Parliament Funk- instruments into the jazz world. Prerequisite: adelic, Earth, Wind and Fire, Miles Davis, Weather HIS200A. Report, and Herbie Hancock’s Headhunters as well as Bay Area-based bands Tower of Power, Cold Blood, Azteca, Sons of Champlin, Pointer Sisters, Larry Graham and GCS, and George Duke.

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HIS300 HIS308 Jazz and Cross-Cultural Practice The Language of Hard Bop 2 credits, 2 hours lecture 3 credits, 3 hours lecture/lab A review of selected musical traditions of the Drawing on quintessential recordings of the 50s world and their cross-cultural and intercultural and 60s hard bop era, students listen to, explore application to jazz. and discuss selected works of hard bop masters, focusing in particular on the collaborative spirit HIS301 inherent in jazz. Recordings include iconic Blue New Orleans: The Birthplace of Jazz Note Records artists such as Art Blakey’s Jazz 2 credits, 2 hours lecture Messengers “family tree,” Miles Davis’ small A course tracing the musical influence of the groups and more. Students apply concepts international port of New Orleans, the melting characteristic of the hard bop style to in-class pot for music innovation and cultural exchange performance of jazz repertoire. Prerequisites: that is the wellspring of the American art form, MUS200B and THE200B or permission of instructor. jazz. Explores the African American experience of cultural resilience through dance, singing and HIS309 drumming traditions that fused elements from Jazz Oral History Methodology various cultures with gospel, blues and the Latin 3 credits, 3 hours lecture/lab tinge. Includes analysis of important recordings An introduction to jazz oral history methodology. as well as in-class performance of traditional and Students learn research techniques in literature modern New Orleans-style funeral marches, street review focusing on biographies and autobiogra- parades, brass bands and other music employing phies; oral history methodologies including improvisation, syncopation, call and response and research, preparation, transcription and analysis of friendly competition that continue to influence interviews; and interview, audiovisual and archival music throughout the world. techniques and their application. In partnership with the Smithsonian Institution, students work HIS302 with and contribute to the collection of the The Miles Davis Legacy Smithsonian Jazz Oral History Program at 3 credits, 3 hours lecture/lab the National Museum of American History. Arguably one of the most important and influential Prerequisite: HIS100A or consent of instructor. figures in modern jazz, trumpet player, bandleader and innovator Miles Davis shaped virtually every HIS310 facet of America’s most important art form The Jazz Singers throughout a recording and performing career 2 credits, 2 hours lecture that spanned six decades. Beginning with Charlie A history class focusing on the legendary jazz Parker’s group in 1945 until his death in 1991, singers from the perspective of the first instrument, Miles directly influenced every important jazz the voice. Students listen to and learn about a movement and musician. Through his recordings gamut of jazz singers and their greatest contribu- and those of his towering sidemen, this course tions, beginning with the precursors of jazz from traces the development of modern jazz from work songs, field hollers, spirituals, rag and blues, bebop to cool, to hard bop to modal, to orchestral to the “holy trinity” — Billie Holiday, Sarah jazz to “time no changes,” to fusion. Vaughan and Ella Fitzgerald — on to jazz today and its future. Students learn to identify stylistic nuances unique to each artist as well as becoming familiar with the important instrumentalists supporting them. Lectures include an overview of the social climate of each period, fostering a greater understanding of how this music was created and has evolved. Film shorts of some of the renowned artists are shown throughout the course. Students are asked to attend and write reviews of two live jazz concerts.

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COURSE DESCRIPTIONS

HIS330 HIS386 Latin American Roots of Jazz The Blues: From Spirituals 2 credits, 2 hours lecture to Ornette Coleman A survey of the evolution and relevance of the 3 credits, 3 hours lecture Afro-Latino roots of jazz. This course examines A course focusing on the salience of the blues, the pan-American sociopolitical circumstances that tracing its late nineteenth century origins in brought Afro-Latino music and jazz together as African-American spirituals, work songs and field branches of the same tree. Emphasis is placed on hollers to its ubiquitous role throughout the the historical development of the especially influen- historical continuum of jazz. tial music of Cuba, New York and Puerto Rico. Students listen to rare recordings from 1900 to the HIS387 present. Music is analyzed through lecture, listening Protest Songs — From the African and discussion and broadens an understanding of American Work Song to Women’s Rights jazz from both stylistic and historical perspectives. 3 credits, 3 hours lecture An historical overview of protest songs, from the HIS340 African American roots tradition (work songs, Brazilian Roots of Jazz spirituals, field hollers, moans, ring shouts and 2 credits, 2 hours lecture plantation dances) through the Civil Rights, A survey course tracing the Brazilian roots of Anti-War, Free Speech and Women’s Rights jazz — from their mid-nineteenth century African movements –– sacred and secular oral traditions and European-influenced folkloric origins to the manifesting cultural resistance and a cri de coeur mid-twentieth century emergence of the samba- for freedom and equality. derived bossa nova and beyond. HIS390A HIS370 History of Western European Music The Beatles from Antiquity to 1750 3 credits, 3 hours lecture 3 credits, 3 hours lecture An examination of the life and work of the This course traces the development of Western incomparable English rock and pop group The European art music from the 10th century through Beatles, framing the group’s career in the context the middle 18th century, focusing on the musical of the vibrant social, cultural, and political climate styles of the master composers of the Medieval, of the 1960s. Attention is given to the group’s Renaissance and Baroque periods. Emphasis on impeccable song writing, their rapid rise to the socio-economic and political conditions that fame, and their creative use of newly-available gave rise to them. technology in the recording studio. HIS390B HIS385 History of Western European Music History of American Roots Music from 1750 to the Present from 1900 – Present 3 credits, 3 hours lecture 2 credits, 2 hours lecture This course traces the development of Western A survey course on the history and cultural European art music from the middle 18th century significance of American acoustic music styles, through the twentieth century and beyond, from traditional country, blues and bluegrass, to focusing on the musical styles of the master singer-songwriter, and newgrass (progressive composers of the Classical, Romantic and bluegrass), among other contemporary Twentieth Century periods and beyond. acoustic sounds. Emphasis on the socio-economic and political conditions of each period.

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HIS390C INSTRUMENTAL PERFORMANCE History of 20th Century Music ENSEMBLES 3 credits, 3 hours lecture A sequel to HIS390B, a course tracing the lives and music of seminal 20th century composers PRF 000 Series — Jazz Ensembles who abandoned the functional harmonic conven- tions of the past for uncharted territory: from the PRF100 – 400 12-tone serialism of Schoenberg to the minimalism Jazz Repertoire Ensemble of Glass. Composers examined include Debussy, 2 credits, 3 hours lab Stravinsky, Bartók, Berg, Webern, Cage, Partch, Standard and contemporary jazz repertoire. Carter, Boulez, Takemitsu, Reich and Adams, among others. Emphasis on composers’ respective PRF101 philosophical viewpoints within the wider historical Horace Silver Ensemble context of the 20th century. 2 credits, 3 hours lab The repertoire of Horace Silver.

PRIVATE INSTRUCTION PRF201 Miles / Wayne Ensemble PRV100A, 100B, 200A, 200B, 2 credits, 3 hours lab 300A, 300B, 400A AND 400B The repertoire of Miles Davis and Wayne Shorter. Instrumental Private Instruction 1 credit, 1 hour lecture PRF203 Eight semesters of private instruction for Jazz Fusion Ensemble instrumentalists, one hour per week with select 2 credits, 3 hours lab faculty. The Private Instruction requirement may Repertoire by composers in the jazz fusion include up to two semesters of instruction in tradition including Chick Corea, John McLaughlin, Western European classical repertoire. Jaco Pastorius and Jean-Luc Ponty among others.

PRV110A, 110B, 210A, 210B, PRF204 310A, 310B, 410A and 410B Gypsy Jazz Ensemble Vocal Private Instruction 2 credits, 3 hours lab 1 credit, 1 hour lecture Repertoire by composers in the gypsy jazz tradition Eight semesters of private instruction for including Django Reinhardt and Stephane Grappelli vocalists, one hour per week with select faculty. among others. Open to voice, violin, viola, cello, accordion, solo guitar, rhythm guitar and bass.

had an amazing experience last night! The students in the Blue and Green I Ensembles have achieved so much in such a short time. Professors Jeff Denson and Dann Zinn, directors of the Blue and Green Ensembles respec- tively, are great teaching artists. Jazz today is a global art form, and Jeff and Dann did a world class job. I was deeply moved last night.

— CJC vocal student, Tatyana Dimatrova, reflecting on the end-of-semester performance by the Blue and Green Ensembles

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PRF205 PRF305 Wes Montgomery Ensemble Jazz Orchestra 2 credits, 3 hours lab 2 credits, 3 hours lab The repertoire of Wes Montgomery. Open to guitar, Standard and contemporary big band literature. piano, bass, drums, and saxophone. PRF306A PRF206 Jazz Piano Trio Guitar Ensemble 1 credit, 1 hour lab 2 credits, 3 hours lab Standard and contemporary jazz repertoire. Open Jazz, Latin American and Western European to two students and one faculty: one on piano; repertoire arranged for 4 – 8 guitarists. one on bass; and one on drums. Note: The trio ensemble rate applies to this course (see page 10). PRF207 Blues and R&B Ensemble PRF306B 2 credits, 3 hours lab Jazz Guitar Trio Repertoire of blues and R&B composers from 1 credit, 1 hour lab the 1940s to the present. Standard and contemporary jazz repertoire. Open to two students and one faculty: one on guitar; PRF301 one on bass; and one on drums. Note: The trio Odd Meter Ensemble ensemble rate applies to this course (see page 10). 2 credits, 3 hours lab Repertoire in odd meters by composers PRF306C including John McLaughlin, George Duke, Jazz Organ Trio Milton Nascimento, Nguyen Le, Airto Moreira, 1 credit, 1 hour lab Esbjorn Svensson and Jeff Beck among others; Standard and contemporary jazz repertoire. Open also odd meter arrangements of jazz standards. to two students and one faculty: one on organ; one on bass; and one on drums. Note: The trio PRF302 ensemble rate applies to this course (see page 10). New Orleans Ensemble — 1920s to the Present PRF306D 2 credits, 3 hours lab Jazz Horn Trio Repertoire of composers in the early New Orleans 1 credit, 1 hour lab jazz tradition including Joe “King” Oliver, Louis Standard and contemporary jazz repertoire. Open Armstrong, and the Preservation Hall Jazz to two students and one faculty: one on horn; Band along with current funk and brass bands one on bass; and one on drums. Note: The trio coming out of the “Crescent City” including Rebirth ensemble rate applies to this course (see page 10). Brass Band, Trombone Shorty and the Dirty Dozen Brass Band. Emphasis on learning PRF307 repertoire by ear. Chick Corea Ensemble 2 credits, 3 hours lab PRF303 The repertoire of Chick Corea. Charles Mingus Ensemble 2 credits, 3 hours lab PRF308 The repertoire of Charles Mingus. Improvised Music Ensemble 2 credits, 3 hours lab PRF304 Repertoire of spontaneously composed music Art Blakey Ensemble in the jazz tradition. 2 credits, 3 hours lab The repertoire of Art Blakey.

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PRF309 PRF326 Percussion Ensemble Jazz String Trio 2 credits, 3 hours lab 1 credit, 1 hour lab Repertoire by noted composers; also features Standard and contemporary jazz repertoire. Open students’ original work. Prerequisite: Intermediate to two students and one faculty on violin, viola, hand drum and stick technique and the ability to cello or double bass. Note: The trio ensemble read rhythmic notation. rate applies to this course (see page 10).

PRF403 Pat Metheny Ensemble PRF 030 Series — 2 credits, 3 hours lab Latin American Ensembles The repertoire of Pat Metheny. PRF230 PRF405 Latin Jazz Ensemble Jazz Tentet 2 credits, 3 hours lab 2 credits, 3 hours lab Repertoire of composers in the Latin jazz tradition Arrangements for tentet: 1 alto saxophone; 1 tenor including Chucho Valdés, Rafael, René and Oscar saxophone; 1 baritone saxophone; 2 trumpets; Hernandez, Pedro Flores, Tito Puente and John 1 trombone; piano; bass; drums; and guitar. Santos among others.

PRF408 PRF231 Original Compositions Ensemble Afro-Venezuelan Jazz Ensemble 2 credits, 3 hours lab 2 credits, 3 hours lab Repertoire composed and performed exclusively Repertoire of composers in the Afro-Venezuelan by ensemble students. jazz tradition including Aquiles Baez, Aldemaro Romero and Simón Díaz among others. PRF409 Post-Bop Ensemble PRF232 2 credits, 3 hours lab Eddie Palmieri Ensemble The repertoire of composers in the post-bop 2 credits, 3 hours lab tradition including John Coltrane, Miles Davis, The repertoire of Eddie Palmieri. Joe Henderson and Wayne Shorter, among others. PRF335 Afro-Cuban Percussion Ensemble PRF 020 Series — Strings Ensembles 2 credits, 3 hours lab The performance and history of traditional, PRF 120 – 420 popular and contemporary Latin American Jazz Strings Chamber Ensemble repertoire. Prerequisites: Intermediate hand 2 credits, 3 hours lab drum and stick technique, and the ability to read Repertoire of composers in the jazz strings rhythmic notation. tradition including the Turtle Island Quartet, Darol Anger, Jean-Luc Ponty, Edgar Meyer and PRF336 Evan Price among others. Open to violinists, Afro-Cuban Orchestra violists, cellists and double bassists. 2 credits, 3 hours lab The repertoire of composers in the Afro-Cuban PRF321 tradition including Tito Puente, Francisco Jazz String Quartet Aguabella, Eddie Palmieri, Machito and Tite 2 credits, 3 hours lab Curet Alonso among others. Repertoire of composers in the jazz string quartet tradition including Quartet San Francisco, the Turtle Island Quartet, Darol Ander, Jean-Luc Ponty, Edgar Meyer and Evan Price among others. Open to 2 violinists, 1 violist and 1 cellist. 42 43 COURSE DESCRIPTIONS

PRF338 PRF346A Tangos, Choros and Frevos Brazilian Jazz Piano Trio 2 credits, 3 hours lab 1 credit, 1 hour lab Repertoire of composers in the Latin American Repertoire of composers in the Brazilian jazz tradition including Astor Piazzola, Egberto tradition including Antônio Carlos Jobim, Toninho Gismonti, Jose Maria de Abreu, Toninho Horta, Horta, Chico Pinheiro, Hermeto Pascual, Dori Edu Lobo and Steve Erquiaga among others. Caymmi and Marcos Silva among others. Open Diverse instrumentation welcome! to two students and one faculty: one on piano; one on bass; and one on drums. Note: The trio PRF339 ensemble rate applies to this course (see page 10). Astor Piazzolla Ensemble 2 credits, 3 hours lab PRF346B The repertoire of Astor Piazzolla. Open to the Brazilian Jazz Guitar Trio following instrumentation: bandoneon, accordion, 1 credit, 1 hour lab harmonica or melodica, piano, double bass, drums, Repertoire of composers in the Brazilian jazz percussion, electric guitar, violin (2), cello, flute, tradition including Antônio Carlos Jobim, Toninho and clarinet. Horta, Chico Pinheiro, Hermeto Pascual, Dori Caymmi and Marcos Silva among others. Open to two students and one faculty: one on guitar; PRF 040 Series — Brazilian Ensembles one on bass; and one on drums. Note: The trio ensemble rate applies to this course (see page 10). PRF240 Brazilian Jazz Repertoire Ensemble 2 credits, 3 hours lab PRF 050 Series — Indian Ensembles Repertoire of composers in the Brazilian jazz tradition including Antônio Carlos Jobim, PRF250 Toninho Horta, Chico Pinheiro, Hermeto Pascual, North Indian Classical Ensemble Dori Caymmi and Marcos Silva among others. 2 credits, 3 hours lab Repertoire in the North Indian music tradition PRF242 by composers including Ali Akbar Khan Choro Ensemble and Alam Khan among others. 2 credits, 3 hours lab Repertoire by composers in the choro tradition including Pixinguinha, Jacob do Bandolim, Ernesto PRF 060 Series — Blues, R&B, Funk Nazareth and Waldir Azevedo among others. and Reggae Ensembles

PRF245 PRF260 Brazilian Rhythm Ensemble Blues and R&B Ensemble 3 credits, 3 hours lab 2 credits, 2 hours lab Applied rhythms and percussion techniques from Repertoire in the blues and R&B tradition from across Brazil focusing on the history and musical the 1940s to the present. practice from three major cultural areas of Brazil: Rio de Janeiro; Salvador, Bahia; and the PRF261 northeastern state of Pernambuco. East Bay Funk Ensemble 2 credits, 3 hours lab PRF246 Repertoire of composers in the funk tradition Brazilian Jazz Guitar Ensemble including Sly and the Family Stone, Cold Blood, 2 credits, 3 hours lab Tower of Power and The Headhunters among Brazilian jazz repertoire arranged for others. 4 – 8 guitarists.

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PRF262 PRF383 Ska and Reggae Ensemble Appalachian Old-Time Ensemble 2 credits, 3 hours lab 2 credits, 2 hours lecture Repertoire of composers in the Ska, Rocksteady, Repertoire of North American traditional music and Reggae tradition including the Skatalites, the specific to the Appalachian region of the US in Upsetters, Bob Marley and the Wailers, Sly and a string band setting of fiddle, banjo, guitar, Robbie, and Roots Radics among others. Open mandolin and bass. to all instrumentalists and vocalists. PRF384 Celtic Ensemble (New) PRF 070 Series — Pop Ensembles 2 credits, 2 hours lecture Repertoire of instrumental and vocal music of the PRF370 Celtic nations (Ireland, Scotland, Wales, Brittany, Sting Ensemble Cornwall, Galicia, and the Isle of Man), incorporat- 2 credits, 2 hours lab ing traditional Celtic instruments including Celtic The repertoire of Sting from “The Police” harp, hammered dulcimer, Irish penny whistle and to the present. bodhran.

PRF480 PRF 080 Series — New Acoustic/Progressive North American Roots Ensembles Bluegrass Ensemble 2 credits, 2 hours lecture PRF280 A sequel to PRF380, repertoire of contemporary Bluegrass Ensemble bluegrass composers including Gillian Welch, 2 credits, 3 hours lab David Grisman, Ricky Skaggs and Darol Anger. Repertoire of composers in the traditional Open to acoustic guitar, mandolin, fiddle, banjo, and contemporary bluegrass tradition acoustic or electric bass, dobro and vocals. from Bill Monroe to Béla Fleck. Open to acoustic guitar, mandolin, fiddle, banjo, acoustic or electric bass, dobro and vocals. PRF 090 Series — Western European Ensembles PRF381 Louisiana Cajun and Zydeco Ensemble PRF290 2 credits, 2 hours lecture Saxophone Quartet Repertoire of composers in the accordion-central 2 credits, 3 hours lab Cajun and zydeco traditions, originating from the Repertoire of composers from the Baroque to French-speaking Cajun and Creole communities bebop periods and beyond. Open to 1 soprano, in Southwestern Louisiana. 1 alto, 1 tenor and 1 baritone saxophone.

PRF382 PRF390 Early Blues/Jug Band Contemporary Music Ensemble 2 credits, 3 hours lab 2 credits, 3 hours lab Early American blues and roots repertoire Repertoire composed and performed exclusively post-WWI/pre-WWII (1923–1942), incorporating by ensemble students, incorporating twentieth unconventional instruments such as jugs, century composition techniques. Prerequisites: washboards, harmonicas and kazoos, along HAR390C or concurrent enrollment. with conventional instruments, including in particular, guitar and harmonica.

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PRF391 PRF219 Electronic Music Ensemble Vocal Intensive 2 credits, 2 hours lab 2 credits, lecture/lab An ensemble utilizing electronic and/or electro- A six-day workshop co-led by a select artist in acoustic instruments. Covers applied synthesis and residence and vocal program director. An explora- signal processing techniques, collaborative electro- tion of technical and stylistic considerations acoustic improvisation, scoring techniques for designed to forward personal artistic voice. unconventional instruments, and utilizing software Includes lectures, rehearsals, private instruction and/or hardware instruments in live performance. and a concert open to the public. Professional Prerequisites: Access to any electronic or electro- accompaniment provided throughout. Maximum acoustic instrument(s) such as a guitar and pedal enrollment: 10. Prerequisite: consent of vocal chair. board, keyboard synthesizer, desktop or modular synthesizer, drum machine, sampler (e.g.: Roland PRF310A 404), vocal processing and looping (hardware and/ Advanced Vocal Performance or software), iPad synthesizer apps, and a laptop 3 credits, 3 hours lecture/lab with a DAW or other sound producing software A continuation of PRF210B, focusing on (e.g.: Max/MSP, PureData, SuperCollider, VCV rack, students’ repertoire of choice. Prerequisites: stand-alone softsynths). PR210B or consent of vocal chair.

PRF111A and PRF111B Vocal Performance Vocal Jazz Ensemble 2 credits, 2 hours lab PRF110A–210B Repertoire includes historic arrangements from Vocal Performance groups including Lambert, Hendricks & Ross and 3 credits, 3 hours lecture/lab the Singers Unlimited as well as original charts and A four-semester course covering a range of styles arrangements. Emphasis on singing close harmony from the Great American Songbook to bebop, parts, sight reading, intonation and creating a modal, world, contemporary popular, and free stylistically relevant ensemble sound. Prerequisite: music. Students compose original material, write PRF110B.3, audition or by consent of vocal chair. lyrics and create their own arrangements. Accompanied by a pianist and/or rhythm section, singers focus on interpretation, stage presence, MUSIC TECHNOLOGY improvisation, vocal technique, phrasing as well as cultivating a personal style. Students are TEC100 expected to develop a repertoire of 80 songs Introduction to Music Technology over this four-year course. Open to vocalists 2 credits, 2 hours lecture/lab and instrumentalists. Prerequisites: MUS110A and An introduction to software tools available for THE100A or concurrent enrollment. sequencing, sampling, scoring/music notation, simple recording and production. This course PRF215 also covers software and web-based services that Brazilian Jazz Bass and Voice Duets assist with developing skills in basic musicianship. 2 credits, 2 hours lecture/lab elective Students must own or have access to a laptop An ensemble in duet format for bass and voice computer with Sibelius software (version 6 or focusing on iconic Brazilian jazz repertoire with higher) installed for use in class. lyrics in both English and Brazilian Portuguese. Open to vocalists only.

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AUDIO PRODUCTION AUD400A Studio Recording I 3 credits, 3 hours lecture/lab An introductory course on the fundamentals of Audio Series — Audio Engineering studio recording. Includes microphone choice and placement, console and studio signal flow, session AUD300A setup and protocol, and live recording. Discussion Digital Audio Workstation I (DAWI) and utilization of limiters, compressors, and other 3 credits, 3 hours lecture/lab signal processing equipment used in the recording An introduction to the Digital Audio Workstation process are part of in-class activities and recording (DAW), the hardware and software designed for sessions. Students’ final project consists of engi- the recording, editing and playing of digital audio neering the Live-to-2-track project. Location: TBD. files. Prerequisites: Students must own or have Lab fee: $850. Prerequisites: AUD300A, AUD310B access to a laptop computer with Pro Tools software (version 9 or higher, or Pro Tools First) installed for AUD400B use in class. Studio Recording II 3 credits, 3 hours lecture/lab AUD300B A course focusing on the techniques and protocols Digital Audio Workstation II (DAWII) involved in multi-track recording projects. Includes 2 credits, 2 hours lecture/lab analysis of advanced large-format console signal A continuation of DAW I, this course delves further flow and exploration of sophisticated ensemble into editing and mixing capabilities of the Digital microphone techniques. Students engineer the Audio workstation. Includes advanced editing final project for Music Production I (sound-a-like). techniques and an introduction into mixing in Location: TBD. Lab Fee: $850. “In-The-Box.” Prerequisites: AUD300A. Prerequisites: AUD305A, AUD300B, AUD401

AUD300C AUD401B Digital Audio Workstation III (DAWIII) Post Production I 2 credits, 2 hours lecture/lab 2 credits, 2 hours lecture/lab This course is an introduction into the digital An overview of the world of sound and music for music recording and production platform Logic. motion pictures, examining the different aspects Location: Classroom. Prerequisites: AUD300A. of post-production including ADR, sound design, Foley and film scoring among others. AUD305A Prerequisites: AUD300B Mix I 2 credits, 2 hours lecture/lab An introduction to the process of mixing. Includes mix setup and simple multi-track mixing as well as the history, philosophy and theory behind mixing. Lab Fee: $600. Prerequisites: AUD300A; AUD310A

AUD305B Mix II 3 credits, 3 hours lecture/lab Advanced mixing techniques including parallel compression and automation. Covers big console and analog/digital hybrid mixing that meet industry standards. Location: TBD. Lab Fee: $550. Prerequisites: AUD305A

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Audio 010 Series — Studio Technology Audio 020 Series — Music Production

AUD310A AUD320 Audio Technology I Survey of Music Production 2 credits, 2 hours lecture 1 credit, 1 hour lecture A course in the foundational principles of digital An investigation into every step of music produc- and analog audio technology. Includes recording tion. Includes an historical overview of the music consoles (design, function, and signal flow), production industry along with project manage- principles of signal processing (reverberation, ment and the process of creating a successful delay, equalization, compression, and other independent or major label release. Students effects), and an introduction to microphone and analyze and evaluate the effectiveness of the loudspeaker technology. various production techniques used in producing select demos and commercial recordings. AUD310B Audio Technology II AUD321 2 credits, 2 hours lecture Critical Listening for Audio Production A continuation of Audio Technology I, this course 1 credit, 1 hour lecture/lab delves further into the technical aspects of the A course designed to develop listening skills recording studio. Covers microphones, advanced critical to the field of audio production through studio and console signal flows and block diagrams, analysis of recording and mixing techniques. and synchronization and MIDI integration. Location: Covers balances, panning, EQ, reverb, compres- Classroom and TBD. Lab Fee: $600. sion, delay and time-based effects, instrument Prerequisites: AUD300A; AUD310A identification and stylistic comparisons of record- ing and mix techniques. Listening analysis exam- AUD410 ples and concepts are reinforced through weekly Studio Electronics critical listening assignments. Students participate 2 credits, 2 hours lecture/lab in weekly ear training drills. An in-depth look into the inner workings of a recording studio, this course will explore cables AUD402 and connectors, audio circuits, schematics, levels Music Production I in audio, and basic studio equipment maintenance 3 credits, 3 hours lecture/lab and troubleshooting. Prerequisites: AUD310B A course covering the fundamentals of music production, including defining the goals of a recording project with artist or client; selecting musicians, composers and/or arrangers; choosing appropriate technical resources appropriate to the budget and goals; working with instrumental and vocal soloists; and orchestrating and motivat- ing all of the participants and resources — from rehearsal to recording, to the final mix. Students’ final project consists of producing a remake of a classic song (a sound-a-like). Location: Classroom/TBD. Lab Fee: $850. Prerequisites: AUD320; AUD400A

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BUSINESS OF MUSIC BUS400B Marketing & Public Relations BUS300 1 credit, 1 hour lecture Audio for Live Performance and Recording A continuation of BUS400A, focusing on 1 credit, 1 hour lecture developing individualized marketing plans, utilizing An introductory overview of live performance current technologies, strategies and platforms. audio systems and basic recording technology Prerequisites: BUS400A providing an explanation of the signal path from the source through the microphone to its eventual BUS401 destination of live show, loudspeaker or recording Pedagogy Techniques media. Strategies for successful live performance 1 credit, 1 hour lecture and interaction with live recording engineers are A course focusing on pedagogy techniques and presented. issues related to pedagogy. Guided by instructor on an individual basis, students design and present BUS301 a live, short-term workshop (2 hours) on a topic of Legal Aspects of the Music Industry their choice to the public as part of the Jazzschool for Jazz Musicians Workshop Series. Students gain hands-on teaching 1 credit, 1 hour lecture skills, expanding their employment options as An overview of the various legal issues in the professional musicians. Prerequisites: senior-year music industry and the manner in which the law standing or consent of instructor. Please note: and technology have shaped the evolution of Workshop proposals must be submitted to and the industry. Covers current legal issues faced by approved by instructor six months prior to jazz musicians and jazz labels and the business presentation and a minimum of six months prior practices that are being developed to address to planned graduation. them. Provides an understanding of the principles of contract and copyright law and covers topics relevant to jazz musicians today, including the role SENIOR PROJECT of agents and managers, live performance agree- ments, recording contracts, music publishing, SEN400 producer agreements, licensing music for motion Senior Project pictures, television and commercials, understand- 1 credit/lab ing royalty statements and the distribution and Seniors prepare and present a 50-minute concert sale of music on the Internet. of jazz and related styles of music open to the public. Students compose and/or arrange reper- BUS400A toire, choose personnel, rehearse the band and Marketing & Public Relations market the concert. All Senior Projects are com- 1 credit, 1 hour lecture pleted in conjunction with a faculty advisor. A one-semester course focusing on marketing and publicity practices critical to the success of the professional musician.

he strong sense of community and low student to teacher ratio at the CJC T fosters an educational environment that encourages creativity and growth.

— Professor Jeff Denson, DMA CJC Faculty, newly named Dean of Instruction

48 49 COURSE DESCRIPTIONS DEPARTMENT OF GENERAL STUDIES

The General Studies curriculum is integral to AREA 1. ENGLISH COMMUNICATION the overall development of the aspiring jazz professional. Courses in General Studies promote (Requirement: 6 credits) broad-based cultural literacy, critical thinking and communication skills necessary to function successfully in the music world and beyond. Students are required to take a total of 6 credits Courses in General Studies serve to broaden in English Communication: 3 credits of English perspectives and provide points of reference Composition and 3 credits of English Literature. invaluable to the jazz professional in a global The following courses fulfill the CJC English society. Communication General Studies requirements and are offered at the CJC: The General Studies requirement comprises 30 credits and is divided into the following five areas: ENGLISH COMPOSITION

Area 1. English Communication ENG100 (Requirement: 6 credits) The Essay English Composition Requirement / Elective Area 2. Arts and Humanities 3 credits, 3 hours lecture (Requirement: 6 credits) Focusing on writing style, sentence structure and grammar, a course in effective expository Area 3. Social Sciences writing and critical thinking that covers structure (Requirement: 12 credits) and function of the essay (non-fiction prose) as a literary form. Students read exemplary essays Area 4. Mathematics and about music, the entertainment industry, visual Quantitative Reasoning art and culture, and write analytical arguments, (Requirement: 3 credits) music reviews, manifestoes and revisions to gain the tools they need to express their personal Area 5. Physical Sciences perspectives, experiences and ideas. (Requirement: 3 credits) ENG102 A range of General Studies courses is offered at The Biography and Autobiography the California Jazz Conservatory. The CJC also English Composition Requirement / Elective accepts select General Studies requirements/ 3 credits, 3 hours lecture electives from any fully accredited institution. A writing intensive that covers structure and Transfer credit fulfilling CJC General Studies function of the biography and autobiography requirements in English Communication (6 credits), as literary forms. Considerations include strategy, Arts and Humanities (6 credits) and Mathematics research and documentation along with an and Quantitative Reasoning (3 credits) is evaluated examination of the structure and conventions and accepted on a case-by-case basis. Please note: of writing “a life.” Using key biographies and the Social Sciences (12 credits) and Physical autobiographies of jazz musicians as models, Sciences (3 credits) requirements are not trans­ students write a biography of a jazz musician ferable from another institution. These require­ of their choosing or their autobiography. ments must be fulfilled at the CJC.

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ENG103 ENGLISH LITERATURE Practical Rhetoric: Writing to Describe, Persuade, Argue ENG105 English Composition Requirement / Elective Poetry of Jazz; Jazz of Poetry 3 credits, 3 hours lecture English Literature Requirement / Elective A course focusing on developing practical writing, 3 credits, 3 hours lecture reading, and critical-thinking skills by addressing Beginning with the lyrics of work songs, gospel the rhetoric of argument. Topics include: Aristotle’s and blues, and continuing through the Harlem description of the various means of persuasion in Renaissance, pre- and post- World War II, bebop The Art of Rhetoric; famous political speeches and the Beats, modern and postmodern, and the that deploy rhetorical strategies; analyses of music “NOW,” jazz poetry has rhythmic and lyrical that makes a social commentary; how to write styles nurtured by the music and its players. skillful program notes to accompany a piece of This extensive range of poetic and jazz aesthetics music in performance; how to critique a piece is studied through the voices of Bessie Smith, of music; and how to write autobiographically in Willie Dixon, Langston Hughes, Jack Kerouac, a way that represents students’ personal skills Michael McClure, Al Young, Michael S. Harper, and achievements both positively and accurately. Jayne Cortez, Ishmael Reed, Billy Collins, Quincy Troupe and others. In depth readings and analysis, as well as historical and musical context are emphasized and explored.

ENG110 Introduction to Shakespeare: From Plays to Works English Literature Requirement / Elective 3 credits, 3 hours lecture A course examining three selected Shakespeare plays and poetry such as Twelfth Night, Othello, the Sonnets, and King Lear with an emphasis on historical context from the Renaissance to the present. The shift from Shakespeare’s theatre as raw commercial entertainment to its status today as preeminent drama is analogous to the evolution of jazz as early twentieth century entertainment found in brothels, bars and dance halls, to its status today as a serious art form. Working in seminar format, students consider problems of poetry, character and performance and attend a live performance of one of the plays, schedule permitting.

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AREA 2. ARTS AND HUMANITIES BERKELEY CITY COLLEGE COURSES (Requirement: 6 credits) The following suggested courses also fulfill the CJC English Composition General Studies require- ment and have been approved for transfer from Students are required to take 6 credits in the area Berkeley City College. Please note: Additional of Arts and Humanities. The following courses fulfill courses of interest may be approved on a case-by- the CJC Arts and Humanities General Studies case basis. For Berkeley City College course requirements and are offered at the CJC: descriptions and class schedules, please visit berkeleycitycollege.edu/wp/programs/ HUM100 class-schedules-and-catalogs/. What is Jazz? Requirement/Elective ENGL 1A, 1B Composition and Reading 3 credits, 3 hours lecture (4 credits) A one-semester course examining jazz in all its ENGL 5 Critical Thinking in Reading and aspects including the origins of the term, its Writing (3 credits) definitions, representations and interpretations in print, photographs, film, dance and visual arts, and ENGL 100 College Composition and Reading its various styles and genres from its beginnings in (3 credits) New Orleans to its current annual celebration globally on Jazz Appreciation Day. Students will The following suggested courses also fulfill the survey writings on jazz from critics, fans and CJC English Literature General Studies require- musicians, engage in intensive listening of repre- ment and have been approved for transfer from sentative recordings, view TV, film and documen- Berkeley City College. Please note: Additional tary segments, and participate in classroom courses of interest may be approved on a case- discussions of the subject. by-case basis. For Berkeley City College course descriptions and class schedules, please visit HUM305 berkeleycitycollege.edu/wp/programs/ Philosophy of Jazz class-schedules-and-catalogs/. Requirement/Elective 3 credits, 3 hours lecture ENGL 50 Multicultural American Literature What is the meaning of jazz? What is the purpose (3 credits) of art? How do you form your artistic message ENGL 85A Literature in English through within the jazz idiom? Andy Hamilton’s “Aesthetics Milton and Music” serves as a guide in addressing these (4 credits) profound questions while reviewing the history of ENGL 85B Literature in English: music aesthetics from Plato to Adorno. Topics Late 17th through covered include a history of the concept of music Mid 19th Century and improvisation, and the relationship of jazz to (4 credits) modernism and postmodern philosophy. Students question their own expectations regarding jazz, HISTORY 47 Critical Thinking in History including the relationship between art and (3 credits) commerce and personal motivations behind their artistic pursuits.

HUM340 Brazilian Portuguese Requirement/Elective 3 credits, 3 hours lecture/lab An introduction to the Portuguese language specific to the Brazilian vernacular. Emphasis on the four basic communication skills: reading, writing, speaking and listening with particular 52 attention given to pronunciation. 53 COURSE DESCRIPTIONS

AREA 3. SOCIAL SCIENCES BERKELEY CITY COLLEGE COURSES (Requirement: 12 credits) The following suggested courses also fulfill the CJC Arts and Humanities General Studies require- ments/electives and have been approved for Students are required to take 12 credits in transfer from Berkeley City College. Please note: the area of Social Sciences. HIS100A – 200B fulfills Additional courses of interest may be approved the CJC Social Sciences General Studies require- on a case-by-case basis. For Berkeley City College ment and is offered at the CJC. Please note: The course descriptions and class schedules, please Social Sciences General Studies requirement is not visit berkeleycitycollege.edu/wp/programs/ transferable from another institution. This require- class-schedules-and-catalogs/. ment must be fulfilled at the CJC.

ART 1 Introduction to Art History (3 Jazz History credits) A four-semester course examining the musical and cultural development of jazz, from its antecedents ART 4 History of Modern Art (3 credits) in the musical cultures of West Africa, Western AFRAM 44B African-American Culture Today: Europe and the New World, to the music that is African-American Music/Art/ performed internationally today. Through exten- Thought (3 credits) sive listening, reading and discussion, students COMM 5 Persuasion and Critical Thinking gain a solid understanding of jazz, a twentieth- (3 credits) century urban dance music that has become globally celebrated as a cultural art form embody- FREN 1A, 1B Elementary French (5 credits) ing the ideals of freedom and democracy. HIST 33 History of Native American Thought and Literature (3 credits) HUMAN 21 Film: Art and Communication (3 credits) HUMAN 26 Global Cinema (4 credits) HUMAN 30A, 30B Human Values/Ethics (4 credits) HUMAN 40 Religions of the World (3 credits) HUMAN 46 Philosophy of the Human Experience (3 credits) PHIL 1 Introduction to Philosophy (3 credits) PHIL 10 Logic (3 credits) PHIL 46 Philosophy of the Human Experience (3 credits) PORT 1A, 1B Elementary Portuguese (5 credits) SPAN 1A, 1B Elementary Spanish (5 credits) WS 35 Feminist Philosophy (3 credits)

52 53 COURSE DESCRIPTIONS

HIS100A HIS200A Jazz History — The Roots of Jazz Jazz History — Style and Culture and Early Jazz, Pre-1900 – 1919 in America from 1940 – 1959 3 credits, 3 hours lecture 3 credits, 3 hours lecture This course examines the influences of West This course explores jazz as an art form, with a African, Caribbean, South American, Asian and focus on the musical innovations of modern jazz European music and culture on the development through the beginnings of free jazz. Styles includ- of jazz pre-1900, and on the early music of New ing bebop, hard bop, funk, Latin jazz, cool jazz, Orleans that became known to the world as and other styles created by Dizzy Gillespie, jazz by 1917. The course focuses on the West Thelonious Monk, Miles Davis, Max Roach, the African conceptual approaches, practices, and Modern Jazz Quartet, Art Blakey’s and Horace cultural conventions that form the foundation of Silver’s Jazz Messengers, Ornette Coleman and jazz, and its origins in spirituals, blues, ragtime and many of their collaborators are examined, focusing other African American sacred and secular music. on instrumental grouping, structural, harmonic and The development of jazz is studied within the rhythmic creativity, and folk influences. Students historical context of American social forces draw connections between the mid-century impact including post-bellum segregation, the industrial of World War II, the Atomic Age and the Cold War, boom and the Great Black Migration, World the hegemony of television, advertising, the War I, and the invention of the radio and sound burgeoning Civil Rights Movement and other recordings. historical epochs upon the evolution of jazz. Prerequisite: HIS100B HIS100B Jazz History — Style and Culture HIS200B in America from 1920 – 1939 Jazz History — Style and Culture 3 credits, 3 hours lecture in America from 1960 – Present A survey of early jazz styles, from the Jazz Age 3 credits, 3 hours lecture of the Prohibition era, through the reign of the This course surveys the range of idioms and swing bands and the jitterbug, to the pre-World subgenres of post-Coltrane jazz, particularly the War II modern jazz jam sessions in Harlem. The evolution of free jazz with the AACM, the 1970s music of Louis Armstrong, Duke Ellington, New York Loft Scene, jazz in Europe, the music and Charlie Parker and many others is studied ideas of Wynton Marsalis juxtaposed with the within the contexts of the post-World War I electronic fusion music of Miles Davis and his economic boom, the Great Depression, collaborators, Herbie Hancock, Weather Report, ballrooms and big bands, the rise of sound Chick Corea and others, and the return of jazz to its motion pictures, American musical theater dance origins. The steady influx of global influences and the Great American Songbook, among from traditional and contemporary musicians from other socioeconomic and cultural touchstones. Africa, Asia, and the New World continues to Prerequisite: HIS100A infuse a diverse range of compositional styles, forms and instruments into the jazz world. Prerequisite: HIS200A

54 55 COURSE DESCRIPTIONS

AREA 4. MATHEMATICS AND QUANTITATIVE REASONING BERKELEY CITY COLLEGE COURSES

(Requirement: 3 credits) The following suggested courses also fulfill CJC’s Mathematics and Quantitative Reasoning General Studies requirement and have been approved for Students are required to take 3 credits in the area transfer from Berkeley City College. Please note: of Mathematics and Quantitative Reasoning. The Additional courses of interest may be approved on following course fulfills the CJC Mathematics and a case-by-case basis. For Berkeley City College Quantitative Reasoning General Studies require- course descriptions and class schedules, please ment and is offered at the CJC: visit berkeleycitycollege.edu/wp/programs/ class-schedules-and-catalogs/. MAT300 Entrepreneurial Skills for Musicians BUS 10 Introduction to Business (3 credits) Requirement / Elective BUS 20 General Accounting (3 credits) 3 credits, 3 hours lecture BUS 53 Small Business Management (3 credits) A course designed to provide the aspiring professional musician with entrepreneurial BUS 20 Business Mathematics (3 credits) skills critical to a successful career in the music industry. Using a systematic approach to learning, students gain an understanding of financial statement analysis, costing projects and AREA 5. PHYSICAL SCIENCES

profitability, financial planning, and tax implication. (Requirement: 3 credits) This course provides students with a solid financial foundation applicable to a wide range of music industry-related ventures. This course is offered Students are required to take 3 credits in the at the CJC. area of Physical Sciences. SCI300 fulfills the CJC Physical Sciences General Studies requirements and is offered at the CJC. Please note: The Physical Sciences General Studies requirement is not transferable from another institution. This requirement must be fulfilled at the CJC.

SCI300 Physics of Sound and Music 3 credits, 3 hours lecture/lab An exploration of the mechanics and perception of music — from the energy that excites the vibrating object and the space through which its waves propagate, to the human ear and brain that experience it as music and reshape it through design. Topics include: wave properties; sound production and timbre; acoustics and psycho- acoustics; pitch, tuning and temperament; and music technology. Through an understanding of music from a scientific perspective, students work toward expanding and building on their experi- ence and sensibilities as musicians. While incorpo- rating some basic mathematics, this course focuses primarily on a conceptual understanding of complex phenomena.

54 55 BACHELOR OF MUSIC DEGREE CURRICULUM REQUIREMENTS IN JAZZ STUDIES (BMJS) TEMPLATE

INSTRUMENTALISTS SEMESTER TOTALS PER REQUIRED COURSES 1 2 3 4 5 6 7 8 AREA For course titles, MUSICIANSHIPI MUS100A–200BI 3 3 3 3 12 see Guide to MUS101, 201I 1 1 2 Course Titles THEORYII THE100A–300AII 3 3 3 3 3 15 (page 62 – 64) THE301II 2 2 HARMONYI HAR390A–390BI 3 3 6 *4 credits may COMPOSITION COM300 3 3 be taken as COM301A 3 3 Independent HISTORYIII HIS300III 2 2 Study; 4 credits HIS330III 2 2 may be taken as HIS390A–390BIII 3 3 6 Performance PRIVATE INSTRUCTIONII PRV100A–400BII 1 1 1 1 1 1 1 1 8 PERFORMANCE PRF000 Series 2 2 2 2 2 10 **or comparable PRF030 Series 2 2 transfer course PRF040 Series 2 2 PRF050 Series 2 2 PRF000–090 2 2 4 MUSIC TECHNOLOGYI TEC100II 2 2 AUD300AII 3 3 BUSINESS BUS300 1 1 BUS301 1 1 BUS400 1 1 BUS401 I 1 1 ELECTIVES ELECTIVES* 1 3 3 2 2 2 2 15 ENGLISH ENG100, 102, 103** 3 3 I ENG 105,110** I 3 3 HUMANITIES HUM100,305** 3 3 6 SOCIAL SCIENCES HIS100A–200BI 3 3 3 3 12 MATHEMATICSI MAT300** I 3 3 Four-Year Total PHYSICAL SCIENCESIII SCI300III 3 3 = 136 SENIOR PROJECT SEN400II 1 1 (Pianists = 134) SEMESTER TOTALS 17 18 17 17 17 16 17 17 136

VOCALISTS SEMESTER TOTALS PER REQUIRED COURSES 1 2 3 4 5 6 7 8 AREA For course titles, MUSICIANSHIPI MUS100A–200BI 3 3 3 3 12 see Guide to MUS101, 201I 1 1 2 Course Titles THEORYII THE100A–200BII 3 3 3 3 12 (page 62 – 64) THE315A-315B 3 3 6 HARMONYI HAR390A–390BI 3 3 6 *4 credits may COMPOSITION COM210 2 2 be taken as COM300 3 3 Independent HISTORYIII HIS110 2 2 Study; 4 credits HIS390A–390BIII 3 3 6 may be taken as PRIVATE INSTRUCTIONII PRV110A–410BII 1 1 1 1 1 1 1 1 8 Performance PERFORMANCE PRF110A–210B 3 3 3 3 12 PRF111A–111B 2 2 4 **or comparable PRF000–090 2 2 2 6 transfer course MUSIC TECHNOLOGYI TEC100II 2 2 AUD300AII 3 3 BUSINESS BUS300, 301, 400, 401 2 2 4 ELECTIVES ELECTIVES* 1 1 3 8 2 15 ENGLISH ENG100, 102, 103** 3 3 ENG 105,110** I 3 3 HUMANITIES HUM100A, 305** 3 3 6 SOCIAL SCIENCES HIS100A–200BI 3 3 3 3 12 MATHEMATICSI MAT300**I 3 3 Four-Year Total PHYSICAL SCIENCESIII SCI300III 3 3 = 136 SENIOR PROJECT SEN400II 1 1 (Pianists = 134) SEMESTER TOTALS 18 17 17 16 17 17 17 17 136

56 57 ASSOCIATE OF ARTS DEGREE CURRICULUM REQUIREMENTS IN JAZZ STUDIES TEMPLATE

INSTRUMENTALISTS SEMESTER TOTALS PER REQUIRED COURSES 1 2 3 4 AREA For course titles, MUSICIANSHIPI MUS100A–200BI 3 3 3 3 12 see Guide to MUS101, 201I(non-pianists) 1 1 2 Course Titles THEORYII THE100A–200BII 3 3 3 3 12 (page 62 – 64) PRIVATE INSTRUCTION II PRV100A–200BII 1 1 1 1 4 PERFORMANCE PRF100-400 2 2 4 *2 credits may PRF230 2 2 be taken as PRF240 2 2 Performance PRF250 2 2 PRF100–499 2 2 **or comparable MUSIC TECHNOLOGY I TEC100II 2 2 transfer course ELECTIVES ELECTIVES* 3 3 6 ENGLISH ENG100, 102, 103** 3 3 ENG 105,110** I 3 3 SOCIAL SCIENCES HIS100A–200BI 3 3 3 3 12 Two-Year Total = 68 SEMESTER TOTALS 18 16 17 17 68 (Pianists = 66)

VOCALISTS SEMESTER TOTALS PER REQUIRED COURSES 1 2 3 4 AREA For course titles, MUSICIANSHIPI MUS100A–200BI 3 3 3 3 12 see Guide to MUS101, 201I 1 1 2 Course Titles THEORYII THE100A–200BI 3 3 3 3 12 (page 62 – 64) COMPOSITION COM210 2 2 HISTORY HIS 110 2 2 *2 credits may PRIVATE INSTRUCTION II PRV110A–210BII 1 1 1 1 4 be taken as PERFORMANCE PRF110–210B 3 3 3 3 12 Performance MUSIC TECHNOLOGY I TEC100II 2 2 ELECTIVES ELECTIVES* 1 1 2 **or comparable ENGLISH ENG100, 102, 103** 3 3 transfer course ENG 105,110** I 3 3 SOCIAL SCIENCES HIS100A–200BI 3 3 3 3 12 Two-Year Total = 68

SEMESTER TOTALS 18 16 17 17 68 (Pianists = 66)

56 57 GUIDE TO COURSE TITLES (1)

COURSE NUMBERS COURSE TITLES

ARTS AND HUMANITIES HUM100 What is Jazz? HUM305 Philosophy of Jazz HUM340 Brazilian Portuguese AUDIO PRODUCTION AUD300A-C Digital Audio Workstation AUD305A-B Mix AUD310A-B Audio Technology AUD320 Survey of Music Production AUD321 Critical Listening AUD400A-B Studio Recording AUD410 Studio Electronics AUD420 Music Production BUSINESS OF MUSIC BUS300 Audio for Live Performance and Recording BUS301 Legal Aspects of the Music Industry for Jazz Musicians BUS400 Marketing and Publicity BUS401 Pedagogy Techniques COMPOSITION AND ARRANGING COM210 Lyric Writing COM300 Jazz Composition COM301A-B Jazz Arranging COM390 Counterpoint COM400 Composition Seminar ENGLISH COMMUNICATION ENG100 The Essay ENG102 The Biography and Autobiography ENG103 Practical Rhetoric: Writing to Describe, Persuade, Argue ENG105 Poetry of Jazz; Jazz of Poetry ENG110 Introduction to Shakespeare: From Plays to Works HARMONY HAR390A-B Western European Harmonic Practice HAR390C 20th Century Harmony HISTORY HIS100A-200B Jazz History (See also under Social Sciences) HIS110 The Great American Songbook: The Jazz Standard HIS261 History of Funk HIS300 Jazz and Cross-Cultural Practice HIS301 New Orleans: The Birthplace of Jazz HIS302 The Miles Davis Legacy HIS308 The Language of Hard Bop HIS309 Jazz Oral History Methodology HIS310 The Jazz Singers HIS330 Latin American Roots of Jazz HIS340 Brazilian Roots of Jazz HIS370 The Beatles HIS385 History of American Roots Music from 1900 – Present HIS386 The Blues: From Spirituals to Ornette Coleman HIS387 Protest Songs – From the African American Work Song to Women’s Rights HIS390 History of 20th Century Music HIS390A-B History of Western European Music HUMANITIES (See also under Arts and Humanities)

58 59 GUIDE TO COURSE TITLES (2)

COURSE NUMBERS COURSE TITLES

MATHEMATICS AND QUANTITATIVE REASONING MAT300 Entrepreneurial Skills for Musicians MUSICIANSHIP MUS100A-200B Ear Training and Sight Singing MUS101 Keyboard Proficiency — Piano for Non-Pianists MUS102 Individual Tutorial MUS103 Introductory Music Theory and Ear Training MUS104 Drum Set Technique for Non-Drummers MUS105 Introduction to Mallet Percussion MUS110 Vocal Technique for Instrumentalists MUS150 Introduction to North Indian Tabla MUS180 Roots Guitar Styles and Techniques for Non-Guitarists MUS190A-B Yoga for Musicians MUS 191 Alexander Technique MUS201 Keyboard Proficiency — Jazz Piano for Non-Pianists MUS202 Sight Reading Workshop MUS204 The Application of Eurhythmics to Jazz Repertoire MUS205 Chart Reading Workshop for Drummers MUS207 Double Bass Ensemble Workshop MUS208 Gypsy Jazz Guitar Styles and Techniques MUS209A-B Practical Applications for the Rhythm Section MUS240 Brazilian Jazz Guitar Styles and Techniques MUS241 Brazilian Jazz Bass Styles and Techniques MUS250 North Indian Music Fundamentals Through Voice MUS280 Traditional Fiddle Styles and Techniques (New) MUS300A-B Advanced Musicianship MUS308 Drum Grooves and Solos in Odd Meters MUS309 Fusion Drumming Styles and Techniques MUSIC TECHNOLOGY TEC100 Introduction to Music Technology PERFORMANCE PRF100-400 Jazz Repertoire Ensemble PRF101 Horace Silver Ensemble PRF110A-210B Vocal Performance PRF111A-B Vocal Jazz Ensemble PRF120-420 Jazz Strings Chamber Ensemble PRF201 Miles/Wayne Ensemble PRF203 Jazz Fusion Ensemble PRF204 Gypsy Jazz Ensemble PRF205 Wes Montgomery Ensemble PRF206 Guitar Ensemble PRF207 Blues and R&B Ensemble PRF215 Brazilian Jazz Bass and Voice Duets PRF219 Vocal Intensive PRF230 Latin Jazz Ensemble PRF231 Afro-Venezuelan Jazz Ensemble PRF232 Eddie Palmieri Ensemble PRF240 Brazilian Jazz Repertoire Ensemble PRF242 Choro Ensemble PRF245 Brazilian Rhythm Ensemble PRF246 Brazilian Jazz Guitar Ensemble PRF250 Traditional North Indian Ensemble PRF260 Blues and R&B Ensemble PRF261 East Bay Funk Ensemble PRF262 Ska and Reggae Ensemble PRF290 Saxophone Quartet

58 59 GUIDE TO COURSE TITLES (3)

COURSE NUMBERS COURSE TITLES

PRF301 Odd Meter Ensemble PRF302 New Orleans Ensemble – 1920s to the Present PRF303 Charles Mingus Ensemble PRF304 Art Blakey Ensemble PRF305 CJC Jazz Orchestra PRF306A Jazz Piano Trio PRF306B Jazz Guitar Trio PRF306C Jazz Organ Trio PRF306D Jazz Horn Trio PRF307 Chick Corea Ensemble PRF308 Improvised Music Ensemble PRF309 Percussion Ensemble PRF321 Jazz String Quartet PRF326 Jazz String Trio PRF335 Afro-Latin Percussion Ensemble PRF336 Afro-Cuban Orchestra PRF338 “Tangos, Choros and Frevos” PRF339 Astor Piazzolla Ensemble PRF346A Brazilian Jazz Piano Trio PRF346B Brazilian Jazz Guitar Trio PRF370 Sting Ensemble PRF380 Bluegrass Ensemble PRF381 Louisiana Cajun and Zydeco Ensemble PRF382 Early Blues/Jug Band PRF383 Appalachian Old-Time Ensemble PRF384 Celtic Ensemble PRF390 Contemporary Music Ensemble PRF391 Electronic Music Ensemble PRF403 Pat Metheny Ensemble PRF408 Original Compositions Ensemble PRF409 Post-Bop Ensemble PRF480 New Acoustic/Progressive Bluegrass Ensemble PRIVATE INSTRUCTION PRV100-400 Instrumental Private Instruction PRV110A-410B Vocal Private Instruction PHYSICAL SCIENCES SCI300 Physics of Sound and Music SOCIAL SCIENCES HIS100A-200B Jazz History (See also under Social Sciences) SENIOR PROJECT SEN400 Senior Project THEORY THE100A-200B Jazz Theory and Improvisation THE205 Single Line Soloing for Instrumentalists THE250 Traditional North Indian Rhythmic Concepts for the Jazz Musician THE251 Traditional South Indian Rhythmic Concepts for the Jazz Musician THE300A Advanced Jazz Theory and Improvisation THE300B Advanced Transcription and Analysis of the Jazz Masters THE301 Form and Analysis of Jazz Standards THE302 Polyrhythms and Odd Rhythm Groupings THE305 21st Century Trends and Aesthetics in Jazz THE315A Single Line Soloing for Vocalists THE315B Single Line Soloing for Vocalists THE330 Latin Jazz Theory and Improvisation

60 61 FACULTY

Laurie Antonioli / Voice Joe Bagale / Music Technology Anthony Brown / Drums/ Percussion Chair, Vocal Jazz Studies (Associate Professor, part-time) Chair, Jazz History Department Department Eastman School of Music (1-1/2 yrs.). (Full Professor, part-time) (Full Professor, part-time) Record producer; Manager, Coast Composer, percussionist, ethnomusi- Studied at Mt. Hood College and Recorders, SF; awarded Outstanding cologist, Guggenheim and Ford Fellow, Cal State Long Beach. Student of Rhythm Section Player by Wynton Smithsonian Associate Scholar, and Joe Henderson and Mark Murphy. Marsalis; studied with Rich Thompson, GRAMMY nominee Dr. Anthony Brown Professor, Vocal Jazz Studies, KUG U., Steve Gadd, Ben Monder, Clay has collaborated with Max Roach, Graz, Austria 2002-2006); International Jenkins, Ron Carter, Darmon Meader, Cecil Taylor, Zakir Hussain, Steve Lacy, performing and recording artist with Scott Amendola; played with Fred David Murray, Anthony Davis and the releases on Nabel Records, Germany; Wesley (James Brown); full time San Francisco Symphony. Dr. Brown Yamaha Records, Japan; and Origin member of Bay Area bands including holds an M.A. and Ph.D. in music Records, USA. Owner of Intrinsic Hot Einstein, Realistic Orchestra, (ethnomusicology) from UC Berkeley, Music Record Co. Clinician, adjudica- Disappear Incompletely, and the Jazz and a Master of Music degree in jazz tor and curriculum development for Mafia Symphony Orchestra; leader, performance from Rutgers University. CJC Vocal Program. Co-teaches annual Joe Bagale Band. He has served as a Visiting Professor of summer Vocal Jazz Intensive with Theo Music at UC Berkeley, an adviser and Bleckmann. Performed and/or recorded Theo Bleckmann / Voice consultant for The Exploratorium, and with George Cables, Bobby McFerrin, (Visiting Professor, on occasion) previously was Curator of American Richie Beirach, Pony Poindexter, Joe National and international performing Musical Culture and Director of the Henderson, Sheila Jordan and Mark and recording artist and educator. Jazz Oral History Program at the Murphy. Bandleader of Foreign Affair Performed with Laurie Anderson, Smithsonian Institution. He is currently Band and The American Dreams Anthony Braxton, Steve Coleman, Artistic Director of Fifth Stream Music, Band. Has released numerous criti- Dave Douglas, Philip Glass, Meredith and the internationally acclaimed cally acclaimed recordings including Monk, Michael Tilson Thomas, John Asian American Orchestra. He has “Songs of Shadow, Songs of Light” Zorn and the Bang On A Can All-Stars. contributed chapters to “John — The music of Joni Mitchell (Origin Featured soloist with the Albany Coltrane and Black America’s Quest Records, 2014), and “Varuna” with Symphony, San Francisco Symphony For Freedom” (Oxford U. Press), “The Richie Beirach (Origin Records, 2015), Chorus, Estonian Radio Choir, Merce Cambridge Companion to Duke with reviews in Downbeat, JazzTimes, Cunningham Dance Company and Ellington” (Cambridge U. Press), and AllAboutJazz, KQED Arts and more. Mark Morris Dance Group. Currently his book, “GIVE THE DRUMMER laurieantonioli.com on faculty at Manhattan School of SOME! The Development of Modern Music. Previously on faculty at New Jazz Drumming” is forthcoming on Hamir Atwal / Drums York University, The New School University of California Press. (Associate Professor, part-time) and Queens College. Teaches voice fifthstreammusic.org B.M. in Performance from Berklee privately and in workshops and College of Music. Acclaimed drum- master classes worldwide. Terry Buehler / Physics mer and percussionist; toured theobleckmann.com (Associate Professor, part-time) internationally in the indie-rock band Graduate studies in Mathematics, Tune-Yards; has worked with notable Lee Brenkman / Recording, Sound University of California, Berkeley; jazz artists such as Myra Melford (Associate Professor, part-time) BSME in Mechanical Engineering and and Michael Formanek; percussion- Sound system operation, design. Mathematics, University of Wisconsin, ist for Invisible Guy Trio, featuring Sound engineer, Avalon Ballroom, Madison. Lecturer, lab and discussion clarinetist Ben Goldberg and pianist Family Dog Productions; head sound instructor, and lab manager with the Michael Coleman. Has given clinics/ technician, Great American Music Physics Department at University of classes at the California Institute of the Hall, Stanford Jazz Workshop, Dick California, Berkeley for 20+ years. Has Arts, Peabody Conservatory, Music Bright’s SRO Band; mixed live shows taught Physics and Music since 2012. Academy International, the Stanford for Bill Evans Trio, Stephane Grappelli, Jazz Workshop, and Jazz Camp West; Count Basie Orchestra, Sarah Vaughan,

faculty member at the California Van Morrison, Astor Piazzolla, Duke LA U Summer School of the Arts. Ellington Orchestra, Oregon; engi- R IE

neered recordings by Ed Blackwell, A N William R. Aron / Woodwinds Betty Carter, Tito Puente, Woody T O

(Associate Professor, part-time) Herman, Hampton Hawes, Carmen N

I M.M in Performance, San Francisco McRae. O

L

State, 1982; B.A. in Music, UC I Berkeley, 1979. Professional musi- cian and music educator for 42 years; specializing in classical saxophone play- ing with the San Francisco Saxophone Quartet and San Francisco Symphony among others. 60 61 FACULTY

Danny Caron / Guitar George W. Davis / Poetry / Taylor Eigsti / Piano (Adjunct Professor, part-time) Literature (Visiting Professor, on occasion) BA in English and Music, Oberlin (Adjunct Professor, part-time) Studied music at U. of Southern College; graduate of Howard Roberts’ BA in Literature, St. Lawrence California. Concord Recording Artist; Guitar Institute, Los Angeles. Studied University; Graduate Studies, Poetry 2007 Grammy nominee; faculty, with Joe Diorio, Ron Eschete and Pat and Drama, Bread Loaf School of Stanford Jazz Workshop since 1999; Martino among others. International English & UC Berkeley; teaches leader, Taylor Eigsti Group with five touring and recording artist; music English, poetry, creative writing, albums as a leader; featured on BET director and guitarist for the late Berkeley Adult School; tutor in Adult jazz channel; performed with Joshua Charles Brown for over a decade. Education; teacher,” Literary Groove Redman; Ernestine Anderson, Dave Performed with legends including Van of Jazz”, JCMS; co-producer, Florio Brubeck, Diane Schuur, James Moody, Morrisson, Bonnie Raitt, Dr John, John Street Concerts; producer, Jazz and Bobby Hutcherson, Frederica Von Clayton and Teddy Edwards. Guitarist the Word, CJC; performer and reader Stade, Patti Austin, Christian McBride, on 2 Grammy Award-winning records, throughout the San Francisco Bay Area. Red Holloway, Rufus Reid, Alan “I’m Here” with Zydeco King Clifton Broadbent; featured on Marian Chenier, and “Don’t Look Back”, with Jeff Denson / Double and McPartland’s Piano Jazz on NPR; Van Morrison and John Lee Hooker. Electric Bass featured in DownBeat Magazine, Faculty member of the California Dean of Instruction Billboard, Jazziz, Jazz Times, Jazz Conservatory since its inception Chair, Bass Department Keyboard Magazine. tayjazz.com in 1997. (Full Professor, full-time) DMA in Contemporary Music Kai Eckhardt / Bass Maye Cavallaro / Voice Performance with an emphasis in (Adjunct Professor, part-time) (Associate Professor, part-time) Composition, University of California BA with honors, Berklee College of Advanced degree in Education, San Diego; MM in Jazz Studies Magna Music. Internationally acclaimed UC Santa Barbara; B.A. in English Lit, Cum Laude, Florida State University; performing and recording artist, UC Santa Barbara. Fellow NY Cabaret BM in Performance Cum Laude, composer and educator; performed Symposium; faculty, Blue Bear School Berklee College of Music. Enja Records with Steve Smith’s Vital Information, of Music; faculty, Jazzschool since recording artist with Minsarah and with Alphonse Mouzon, Randy Brecker, John 2002, private coaching, 30 years; the Lee Konitz New Quartet. National McLaughlin, Billy Cobham, Fareed producer, 10 recordings; producer, and international performing and Haque, Courtney Pine, Zakir Hussain, 25 concerts and instructor/mentor for recording artist; performed with Bob George Brooks, Mike Marshall, and Jazzschool concert series; bandleader, Moses, Joe Lovano, Carl Allen, Kenny Stanley Clarke. Faculty on occasion at performing artist, recording artist; Werner, Anthony Davis, Mark Dresser, Berklee College of Music, Boston; the awarded Best of the Year in Jazz by Geoffrey Keezer, Claudio Puntin, Lionel Bass Collective, NYC; Anton Bruckner the San Francisco Chronicle; visiting Loueke, Dan Weiss, Ralph Alessi, Charles Conservatory, Austria; and Musician’s clinician, St. John’s U.; graphic artist, McPherson and Lee Konitz. Select Institute of Technology in Los Angeles. web designer. mzjazz.com performances include: Berlin Jazz kaizone.com Festival, the JVC Jazz Festival Paris Matt Clark / Piano / Accompanist and the Montreal Jazz Festival, The Steve Erquiaga / Guitar (Instructor, part-time) Kennedy Center and the Village (Associate Professor, part-time) BFA in Jazz Studies from the Oberlin Vanguard. jeffdenson.com National and international recording Conservatory of Music. Recorded and/ and performing artist; performed at or performed with Bobby Hutcherson, Angie Doctor / Voice Montreux Jazz Festival, Berlin Jazz Benny Golson, Eddie Marshall, John (Associate Professor, part-time) Festival, North Sea Jazz Festival; Faddis, David “Fathead” Newman, B.A. In Music Performance, Gonzaga performed with Bobby McFerrin, Joe Gene Bertoncini, Joshua Redman, and University. Studied with Phil Mattson, Henderson, Les McCann, John Teddy Edwards. Toured extensively Terry Summa and Tim Smith. Founding Scofield, David Byrne, Turtle Island throughout Asia, Europe and the member of the Grammy-nominated PM String Quartet, Paulo Bellinati, Andy United States including appearances Singers with Phil Mattson. Performing Narell, and Paul McCandless; founder, at the Monterey, San Francisco, and recording artist, studio singer, vocal leader, Trio Paradiso; faculty, Jamey Vienne, Big Sur, Stanford, and jazz adjudicator and clinician, jazz and Aebersold Jazz Clinics; publica- Rochester jazz festivals in addition to pop solo coach. Artist-in-residence, tions include Guitar Duets and televised performances for CNN Vocal Jazz Choir and Solo Jazz Lab with Arrangements from his CD Cafe Showbiz Today and numerous PBS Melecio Magdaluyo at Ruth Asawa San Paradiso. erquiaga.com specials. Clinician, lecturer in jazz Francisco School of the Arts High history, and ensemble instructor at School. Performed with Bobby McFerrin, the Stanford, Oaktown and Cazadero Don Shelton, The Hi-Lo’s, Barbara jazz workshops. Morrison, The Manhattans, Heatwave, Deneice Williams, Barbara Lewis, GQ, Gene Chandler, Eddie Holman, Barbara Mason and Billy Paul. Founding member and lead singer for Clockwork, currently The Girl in The Bobs, and member of the female vocal quartet, Montage. 62 63 FACULTY

Ian Faquini / Guitar Mimi Fox / Guitar John Gove / Trombone (Instructor, part-time) (Associate Professor, part-time) (Full Professor, full-time) B.M. in Jazz Studies, California Jazz International recording/performing MM and BM in Jazz Composition Conservatory (in progress). Composer, artist and five-time DownBeat Magazine and Performance, Eastman School guitarist, vocalist and arranger, spe- International Critics Poll winner. of Music; winner of two Downbeat cializing in the music from his native Performed throughout Europe, Asia, awards for composition and arrang- country, Brazil. Has performed and/ the Caribbean and Australia. Festivals ing. Director of Jazz Studies at Laney or recorded nationally and internation- include Montreal, Monterey, Guinness College. Has performed and/or ally with Guinga, Spok, Paula Santoro, Cork, Perth and North Wales recorded as a trombonist with Terence Rafael Barata, Vitor Gonçalves, International Jazz Guitar Festival. Blanchard, the Mingus Dynasty, Maria Moyseis Marques, Clarice Assad, Jean Adjunct professor of Jazz Studies at Schneider, Tony Bennett, Diana Krall, Charnaux, Túlio Araújo, Marcos Silva, NYU; guest clinician/artist in residence Dr. John, Peter Gabriel, Huey Lewis, Harvey Wainapel, Jeff Cressman, at Alaska Jazz Workshop, Britt Music Smashmouth. His arrangements have Sandy Cressman, Almir Côrtes, and Festival, Yale U., CalArts, Cornish been commissioned and performed Scott Thompson, among others. Ian College of the Arts, U. of Oregon, by such artists as Ledisi with the Count teaches at the renowned California USC and Berkeley College of Music; Basie Orchestra and the SFJazz All Brazil Camp and has also presented featured artist on Marian McPartland’s Stars. many workshops throughout the Piano Jazz on NPR; featured artist, United States and Brazil. Kennedy Center. Performed with Benny Green / Piano Charlie Byrd, Kenny Burrell, Branford (Visiting Professor, on occasion) Dan Feiszli / Bass, Marsalis, David Sanchez and Diana A member of Art Blakey’s famed Jazz Recording Engineer Krall. mimifoxguitar.com Messengers, Benny Green served (Associate Professor, part-time) as star side man with such notables B.M. in Studio Music and Jazz, U. of Todd M. Gascon / Business of Music as Betty Carter, Freddie Hubbard Miami, 1998. SF Bay Area-based bassist, (Associate Professor, part-time) and Ray Brown. He has appeared on producer and recording engineer. Has JD University of Dayton; B.S.B.A. Ohio hundreds of recordings with them performed with Raul Midon, Julio Northern University. Todd Gascon is an and with Oscar Peterson, Etta Jones, Iglesias, James Moody, Ann Hampton entertainment and technology lawyer Milt Jackson, and Russell Malone, Calloway, Ignacio Berroa, Jon Secada, with the Zent Law Group in Sunnyvale, to name only a few. He formed his and locally with a host of Bay Area California. Mr. Gascon’s practice is own trio in 1991, and has produced musicians. Dan has been featured on focused in the areas of intellectual dozens of recordings, as a leader and hundreds of recordings as a bassist, property law and licensing, with a with others, for Blue Note, Telarc and played at major jazz festivals including particular emphasis in digital media, other labels. His most recent release, the Monterey and Playboy Jazz music, motion pictures and the visual Magic Beans (Sunnyside, 2013), is his Festivals, performed at jazz clubs arts. Mr. Gascon represents artists, first self-produced recording of all nationwide including The Blue Note in composers, bands and independent original compositions, and includes NYC, Jazz Bakery and Baked Potato in record labels in the negotiation of his Jazz Messenger teammate, Peter LA, and has done musical theatre pit distribution, management, publishing, Washington on bass and Kenny orchestra work including local and production and recording agreements Washington on drums. Benny Green touring productions of Billy Elliot and The as well as the licensing of compositions was the first recipient of the Glenn Lion King. As a producer and recording and master recordings for use in Gould International Protégé Prize engineer, he has recorded hundreds of commercials, motion pictures, televi- in Music (1993), and his remarkable albums for artists reaching the highest sion and videos. A partial listing of his career stretches back to his days at spots on the Jazz radio charts, regularly clients, past and present, includes Dave Berkeley High, in the school’s influen- working out of his own studio, What’s Binney, Don Byron, Jim Campilongo, tial Jazz Ensemble. For Lunch? Recording in El Cerrito, as Dave Douglas, Marty Ehrlich, Wayne bennygreenmusic.com well as Fantasy Studios in Berkeley. Horvitz, Hot Club of San Francisco, Andy Laster, Kate McGarry, Myra Alan Hall / Drums Melford, Mick Rossi, Kendra Shank, (Associate Professor, part-time) Edward Simon, Tin Hat and Cuong Vu. Advisor, Drum Program. Former assis-

JO In addition, Mr. Gascon is a board tant professor at Berklee College of H N member of Rova:Arts, the non-profit Music; adjunct faculty at UC Berkeley; G O organization of the Rova Saxophone clinician; author; performed with Ernie V E Quartet. zentlawgroup.com Watts, Paul McCandless, Eddie Harris, Bruce Wilamson, Art Lande, Tom Coster, Kit Walker, Rebecca Parris, Kai Eckhardt, Stuart Hamm; artist endorse- ment with Zildjian Cymbals, Vic Firth Sticks, Aquarian Accessories. jazzdrumming.com

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Tammy L. Hall / Piano Philippa Kelly / Literature; Laura Klein / Alexander Technique (Associate Professor, part-time) Chair, English Department (Associate Professor, part-time) Mills College, 1979-1981; lecturer (Full Professor, part-time) BA in Music, SUNY Buffalo. Jazz and performer at Stanford University, PhD, University of Queensland, 1987; Studies at Berklee College of Music. September 2014; founding mentor/ BA Hons (1), 1982, University of Certified Teacher of the Alexander teacher with Black Girls Play at the Queensland. Commonwealth Scholar Technique, Center for the Alexander Oakland Public Conservatory of Music; (Oxford); Walter and Eliza Hall Scholar Technique, AmSAT, STAT. Instructor teaching/performing artist with SFJAZZ (Oxford); Fulbright Senior Fellow of Alexander Technique, UC Berkeley Educational Outreach programs (Jazz (UC Berkeley), Rockerfeller Fellow Music Department 150 Program. In the Middle, Jazz In Session at San (Bellagio), Senior Common Room Faculty, Bay Area Center for the Francisco and Oakland Unified School Fellow (Oxford). Additional University Alexander Technique (Teacher Training District); jazz ensembles 1983-present; Fellowships awarded by University Course), 2001-08. Private practice composer, arranger, recording artist; of New South Wales, Australian teaching the Alexander Technique performances in major clubs and festi- National University, University of in Berkeley since 1987. Taught piano vals including North Sea and Monterey Sydney. Australian Research Council and jazz ensembles at SF Community Jazz Festivals, Jazz at Lincoln Center, Large Grant Awardee (ARC). Vice Music Center and piano at Berklee Carnegie Hall, Great American Music Chancellor’s award for Excellence in Private Studies. Active jazz pianist/ Hall, Sala Filarmonica (Trento Italy), Teaching (University of New South composer; five recordings; currently Brussels Jazz Club, Japan, Mexico, Wales) and Bly Award for Innovation co-leader of FivePlay Jazz Quintet. Europe; musical director; featured art- in Dramaturgy (Literary Managers lauraklein.net ist on Marian McPartland’s Piano Jazz and Dramaturgs of the Americas). on NPR. Resident Dramaturg at the California Janet Kutulas / Voice Shakespeare Theater, Professor in (Adjunct Professor, part-time) Peter Horvath / Piano Dramaturgy and Adjunct Professor in BM, San Francisco Conservatory of (Adjunct Professor, part-time) Renaissance Literature at UC Berkeley Music,1988. Music Director, KITKA MA, Berklee College of Music; (Osher Lifelong Learning Institute); Women’s Vocal Ensemble. Trained Bela Bartok Conservatory of professor at San Francisco State with Bulgarian singers Tzvetanka Music, Budapest, Hungary; Vienna University. Professorial instructor for Varimezova, Kremena Stancheva, Conservatory of Music. Performed, university women in Saudi Arabia, and Ukrainian singer Mariana toured, recorded with Victor Bailey Panel Chair for Australia’s Endeavour Sadovska, and others. Awarded a Group, Bobby Hutcherson, Joe Commonwealth Government grant Hertz Fellowship from UC Berkeley. Henderson, Lalah Hathaway, Oakland system. Has published 12 books, Performed with A.C.T.; Le Mystère Symphony, Bob Sheppard, Bennie 70 articles. des Voix Bulgares; Linda Tillery Maupin, Richie Cole, Ray Obiedo; and the Cultural Heritage Choir; arranged and recorded for Aretha Alam Khan / North Indian Sarode Marcel Khalife; and on Prairie Home Franklin. peterhorvath.com (Adjunct Professor, part-time) Companion. Performed as a flutist with International performing artist and son the Berkeley Symphony, California Erik Jekabson / Trumpet of the legendary sarode maestro Ali Symphony, the Civic Orchestra of (Associate Professor, part-time) Akbar Khan. Instructor of advanced Chicago and the Illinois Philharmonic. MA in Composition, SF Conservatory instrumental and vocal classes at the As a founding member, played for 15 of Music; B Mus. in Trumpet, Oberlin Ali Akbar College of Music. Trained at years with EARPLAY; also Composers Conservatory of Music. Toured with the Maihar Senia Gharana and under Inc., Left Coast Chamber Players John Mayer, Illinois Jacquet and the mentorship of has father, Khan has and in the SF Symphony’s New and Galactic. Arranged for SF Symphony, toured worldwide both as an accom- Unusual Music Series. kitka.org Madeline Peyroux, Ani DiFranco, panist and leader and has established Jackie Ryan and others; leader of himself as Ali Akbar Khan’s true heir Art Lande / Piano the Electric Squeezebox Orchestra, and the face of a new generation of (Visiting Professor, on occasion) recorded six CDs under his own name sarode players. He has performed Grammy-nominated recording for Fresh Sound, Wide Hive, OA2 with India’s tabla masters Swapan artist, internationally known pianist, and his own Jekab’s Music label. Chaudhuri, Zakir Hussain and Anindo composer, drummer and educator. Composed for film and dance projects Chatterjee, and with a wide array of Has performed with Joe Henderson, as well. erikjekabson.com artists from different genres such as Woody Shaw, Bobby Hutcherson, Derek Trucks, Susan Tedeschi, Bob Steve Swallow, Charlie Haden, Kenny Weir, Rob Wasserman, Christopher Wheeler, Sheila Jordan, Mark Isham, Hedge, Homayoun Sakhi, underground Paul McCandless, Jan Garbarek and hip-hop legend Eligh and electronic many others. musicians Amplive and Janaka Selekta. He was recently in the film “Play Like a Lion,” which tells the story of his musi- cal journey, as well as his father’s.

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Jay W. Lehmann / Trumpet Jeff Marrs / Drums Hafez Modirzadeh / Theory, (Full Professor, part-time) (Associate Professor, part-time) Saxophone MA in Trumpet Performance, CSU East BA and MA in Jazz Performance from (Full Professor, part-time) Bay; BA in Music, UC Davis. California The New England Conservatory; works PhD, Wesleyan University (1992), for Lifetime Teaching Credential; regularly with Marcus Shelby Jazz his original “chromodal” approach to Chairman, Laney College Music Orchestra, The Mel Martin Quartet, jazz. Since 1998, Professor of World Department; Director, Laney Summer The “Dynamic” Ms. Faye Carol; has Cultures Program at SF State’s School Music Program; performed at the performed with Dr. Lonnie Smith, of Music and Dance. 1989, ‘91 NEA Monterey Jazz Festival and with Don Marc Cary and George Russell; part- Jazz Fellow, and 2006 Fulbright Senior Menza, Bill Watrous; studied with John time faculty member, Los Medanos Lecturer to work with Gnawan and Cage. laney.peralta.edu College, Diablo Valley College, and Flamenco musicians in Morocco and UC Berkeley. Andalucia. An international per- Jason Levis / Drums, Composition forming/recording artist and educa- (Full Professor, part-time) Paul Mehling / Guitar, Tenor & tor, Modirzadeh has worked with Ph.D. and M.A. in Composition, Plectrum Banjo, Violin, Viola, Bass Don Cherry and Peter Apfelbaum’s UC Berkeley; B.A. in Music, Naropa (Associate Professor, part-time) Hieroglyphics Ensemble, Ornette University. Two-time Meet the Leader of the Hot Club of San Coleman, John Handy, Zakir Hussein Composer award recipient; Eisner Francisco; international touring and Mark Izu’s Circle of Fire, Steve Lacy Prize for Music winner; Outstanding and recording artist. “Godfather of and Anthony Brown’s Asian American Graduate Student Instructor (UC gypsy jazz in America (according to Orchestra, Oliver Lake, James Newton, Berkeley); Interaktion Festival final- PBS)”; producer of CD recordings Leo Smith, Omar Sosa, and many Asian ist (Berlin), drummer and composer and Instructional DVDS for guitar; and Asian American artists including Jason Levis has led and been a col- International Association of Jazz Fred Ho, Danongan Kalanduyan, Akira laborator in numerous jazz, impro- Educators award-winner. HCSF.com Tana, Kenny Endo, Francis Wong and vised music, and chamber ensembles Asian Improv Arts. in the San Francisco Bay Area and Aaron Mobley / Composition & Berlin, Germany. These include the Theory (Full Professor, part-time) Susan Muscarella / Piano Heftpistole Chamber Ensemble; duo DMA in Composition, University of President, CJC B.; Married Couple; DRY; live dub- Arizona; MM in Composition/Theory, (Full Professor, full-time) reggae ensemble Joseph’s Bones; Carnegie Mellon University; B Mus. PhD in Musicology, University of Évora, the Echo Chamber Ensemble; most in Composition/Theory, Southern Portugal. BA in Music Composition, recently the Berlin Boom Orchestra, Methodist University. Aaron Mobley is UC Berkeley. Founding President, and many more. Through these a composer/pianist and the Head of CJC, Inc.; Director, UC Jazz Ensembles avenues he has produced, composed Music Studies at Berkeley City College 1984 – 89; composer, arranger and and arranged for, performed in, and in addition to his role as faculty and recording artist; performances at major released over two-dozen records, author in musicology/theory with the clubs and festivals including Yoshi’s, bridging a multitude of musical styles. American Culture and Ideas Initiative Keystone Korner, Great American He is an active performer on the drum at the Fred Fox School of Music, Music Hall and the Lighthouse, and set in both art and popular music set- University of Arizona. Recipient of Monterey, Berkeley and Concord tings and has extensive national and several distinguishing awards including Jazz Festivals; featured on Marian international performance experience. an Andrew W. Mellon Foundation McPartland’s Piano Jazz on NPR; jasonlevismusic.com Fellowship in the Arts, a National recipient of a 2008 “A Team” Award Endowment for the Humanities grant, from the Jazz Journalists Association; Frank Martin / Piano, Keyboards and a software research associate’s former member of the Board of (Associate Professor, part-time) award in the Machine Learning Directors, Chamber Music America; Music Director for Narada Michael Department at Carnegie Mellon recipient of the 2018 Benjamin Ide Walden, Patti Austin, Angela Bofill; University’s School of Computer Wheeler Award; panelist at the 2019 Carnegie Hall appearances with Science. Dr. Mobley’s electro-acoustic Jazz Congress. cjc.edu Sting, James Taylor, Elton John; Record compositions appear on the Architects producer/arranger for Al Jarreau, & Heroes | A Digital Art Collective label Turtle Island String Quartet, Joey and have been featured in concert, T AM M DeFrancesco, Mimi Fox, Mary Jenson, film, dance, and art installations. Y L . Molly Holm, Deuce, Tuck & Patti, Karen H A Blixt; performed/recorded with John L McLaughlin, Buddy Montgomery, Joe L Farrell, Dizzy Gillespie, Larry Coryell, Herbie Hancock, Stanley Jordan, Stevie Wonder, Airto, Dori Caymmi, Dianne Reeves, Patrice Rushen, Trilok Gurtu, Richard Bona; Faculty, UC Berkeley Jazz Ensembles. frankmartinproductions.com

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Kim Nucci / Electronic Music, Ricardo Peixoto / Guitar Romain Pilon / Guitar Composition (Associate Professor, part-time) (Visiting Professor, on occasion) (Associate Professor, part-time) Originally from Rio de Janeiro, Brazil, B.M. in Performance from Berklee M.F.A. in Electronic Music and came to the US on scholarship to College of Music. Internationally- Recording Media, Mills College; attend Berklee College of Music in renowned touring guitarist and com- M.A. in Music Composition, Mills Boston, graduating with a B.M. in poser. Has recorded numerous albums College; B.A. in Visual Arts and Music Performance and including studies with as leader and co-leader; recordings Composition; minor in Saxophone Pat Metheny, Gary Burton and Mick feature Walter Smith III, Ben Wendel, Performance, Bennington College. Goodrick. In the Bay Area studied clas- Seamus Blake, Matt Brewer and Pierre Media artist/composer, improviser, sical guitar with George Sakellariou. de Bethmann, among others. Opened technologist and educator. Studied Ricardo’s fluid melodic style and keen for Pat Metheny; performs in festivals with Milford Graves, Roscoe Mitchell, compositional sense explore Brazil’s throughout Europe and US. Has given Bruce Williamson, Zeena Parkins, rich and diverse traditions while incor- masterclasses in France, US, Portugal, Fred Frith, James Fei, Jason Rigby, porating elements of jazz and classical Italy, Spain, Japan, German and Malta. Allen Shawn, and Maggi Payne. guitar, placing him among the top rep- Performances on saxophone, modular resentatives of Brazilian guitar in the Chico Pinheiro / Guitar synthesizer and electronics. Composed US today. Recorded, performed, and (Visiting Professor, on occasion) for Generous Ensemble, Sage City collaborated with Claudia Villela, Flora BA in Professional Music from Symphony, Bennington College Purim and Airto, Bud Shank, Dom Um Berklee College of Music (Summa Saxophone Ensemble, Martha Herr, Romão, Sivuca, Claudio Roditi, Raul Cum Laude). Native of Sao Paulo, Mills College CPE, Mills College de Souza, Toots Thielemans, Dori Brazil, studied with legendary teachers Gamelan, and others. Releases on Caymmi, Guinga, Arturo Sandoval, Mick Goodrick and Hal Crook and Unheard Records, and the Rubber Spok, Jovino Santos Neto, Marcos earned several academic awards. City Noise imprint as Peanut Twins. Silva, Almir Côrtes, Rogério Souza, International performing artist and one Performed and/or recorded with Terra Sul, and the Berkeley Choro of the leading figures in modern Aurora Josephson, Hamir Atwal, Ensemble among others. Has per- Brazilian music. Also a composer/ Phillip Greenlief, Biggi Vinkeloe, formed throughout the US, Europe, arranger whose recordings have been Fred Frith, Nava Dunkelman, gabby Canada, Japan and Brazil. Teacher included in the “Top 10 Brazilian fluke-mogul, John McCowen, Madam and lecturer at California Brazil Camp Albums of the Year.” Performed and Data, Perpetual Ash, Hild Sofie Tafjord, and Jazz Camp West, and has taught recorded with Rosa Passos, Chico Bergrún Snaebjörnsdottir, Tom Djll, at the California Jazz Conservatory César, Dori and Danilo Caymmi, João Indy Niles, Adra, Evan Lipson, Sandy (F.K.A the Jazzschool) for the last Donato, Johnny Alf, Luciana Souza, Gordon, Kris Force, Bruce Williamson, several years. César Camargo Mariano, Dianne John Niekrasz, A.E. Paterra, Barry Reeves, Bob Mintzer, Roberto Saunders and others. Reto Peter / Audio Production Fonseca, Cachaíto Lopez, Brad Co-Chair Audio Production Mehldau, Esperanza Spalding, Department Fleurine, Mark Turner, Chris Potter, (Full Professor, part-time) Eddie Gomez, Claudio Roditi, Duduka Sound engineer and music producer da Fonseca and Giovani Hidalgo. music for 20 years at prestigious stu- dios in Boston, New York, Switzerland Joyce Pricco / Voice and the San Francisco Bay Area. Reto (Associate Professor, part-time) RI CA earned a Bachelor Degree in Music Master of Music. Music Education, RD O from Berklee College of Music in Boston University; Bachelor of Music, P E Boston, where he focused on Music Music Education-Voice, San Francisco IX O Production and Engineering. He has State University; Certificate of

T

O been part of multi-platinum albums Completion, Multimedia Studies, including Green Day, The Counting Diablo Valley College. Bay Area Crows, Flipsyde, Mickey Hart and many freelance musician, 20+ years in chart-topping artists from his native venues throughout the Bay Area; Switzerland. In 2011, he joined the private instruction since 1978; faculty at the Art Institute of California, instructor at Diablo Valley College San Francisco, to assist with curriculum and Bradley School of Music; music development and teach advanced director at St. Michael and All Angels recording and mixing techniques. Episcopal Church.

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Evan Price / Violin Seattle. Clinician at Oberlin, Cantareira Jim Santi Owen / Indian Percussion (Associate Professor, part-time) College (São Paulo) and University of (Associate Professor, part-time) A native of Detroit, MI. Roots in Campinas, Percussive Arts Society MA in World Music, CalArts. Trained square dance bands, string quar- International Convention, Stanford in Indian percussion under Pandit tets, and blues bands. Attended The University, Southern Oregon Swapan Chaudhuri, T.H. Subash Cleveland Institute of Music and the University, University of Washington, Chandran, and K. Sekar. Student of Berklee College of Music. Performing Indiana University, Queens College Charlie Haden, James Newton, and member of the two-time Grammy®- and others. Tootie Heath, and African drumming award-winning jazz ensemble Turtle and dance from the Ladzekpo Island Quartet, which has released Glenn Richman / Bass Brothers. Performed with Pharoah five albums, performed internation- (Associate Professor, part-time) Sanders, Alonzo King, Hamza el Din, ally, and collaborated with Paquito Mannes School of Music (1 yr); Mickey Hart, Alam Khan, George D’Rivera, The Ying Quartet, Dr. Billy Berklee College of Music (2 yrs). Brooks, Steve Smith, Chitresh Das, Taylor and Kenny Barron, and Sergio Advisor, JCMS Bass Program; student Gamelan Sekar Jaya, and Jai Uttal and Odair Assad. Performing member of Buster Williams, George Mraz among others. On faculty at the of the gypsy jazz band The Hot Club and Mike Longo; performed with Ali Akbar College of Music, the CJC, of San Francisco, which has released Bobby Hutcherson, Jon Hendricks, Dominican University, and Lines Ballet six albums, and performed nation- Dave Liebman, Chet Baker, Benny School and is currently the Musical ally and internationally. Composer Green, Dakota Staton, Chris Connor, Director of the San Francisco World and arranger with HCSF, Turtle Island Tom Harrell, Eddie Henderson, John Music Festival. jimsantiowen.com Quartet, Quartet San Francisco, Hicks, Mike Clark, Jack Wilkins, Billy Providence String Quartet, Irish fiddler Hart, Larry Willis, George Coleman John Santos / Percussion Liz Carroll, Orchestra Nashville, The and Mickey Roker; faculty, Brubeck (Associate Professor, part-time) San Francisco Girls’ Chorus, and Institute, UC Berkeley and Chabot Percussionist, producer, composer, the New Century Chamber Orchestra. College. recording artist, writer and historian. Former member of the music faculty Multi Grammy nominee (5); Founder at Wellesley College. Yoriko Richman / Eurhythmics and Director, The Machete Ensemble, (Associate Professor, part-time) 1985 – 2006; performed and/or Jackeline Rago / Cuatro, B.A. Piano and Music Education, recorded with Dizzy Gillespie, Tito Afro-Venezuelan Percussion Musashino Academia Musicae, Puente, Santana, Cachao, Eddie (Adjunct Professor, part-time) Tokyo; Dalcroze Teacher’s License, Palmieri, Max Roach, McCoy Tyner, Multi-instrumentalist, national and Dalcroze School of Music, New York; Steve Turre, Bobby Hutcherson, Lalo international performer, composer, Professional Studies Certificate, Schifrin, James Moody, The Latin Giants arranger, educator; Music Director, Berklee College of Music, Boston; of Jazz, Omar Sosa, Buena Vista Social Venezuelan Music Project; awarded Studied with Madeleine Duret, Institut Club, Batacumbele, Lázaro Ros, CAC Artist In Residence Grant. Jaques-Dalcroze, Geneva; Dalcroze Francisco Aguabella, Armando Peraza, jackelinerago.com Instructor, Mannes College of Music El Conjunto de Clave y Guaguancó, Preparatory Division and Showa John Faddis, and Mark Murphy. Brian Rice / Percussion Academia Musicae, Yokohama, Japan; Lectured and/or offered residencies at (Associate Professor, part-time) Collegiate Faculty, San Francisco the Berklee School of Music, Yale, Co-chair, Brazilian Jazz Studies Conservatory of Music; Dalcroze UCLA, Whittier College, Michigan Department Instructor, San Francisco Girls Chorus. State, U. of Wisconsin at Madison, B.M. in Percussion and Dillard U., UC Berkeley, UC Sacramento, Ethnomusicology, Oberlin Rita Sahai / Voice UC Santa Cruz, UC Monterey Bay, San Conservatory of Music. Acclaimed (Adjunct Professor, part-time) Jose State U., SF State U., Humboldt international performer/clinician, and Performing artist, educator and com- State U., and Brigham Young U., as well recording artist adept at both Brazilian poser. A native of Allahabad, India, the as throughout Europe and Latin and Afro-Cuban percussion among disciple of renowned vocalist Pandit America. Currently on faculty of the others. Lecturer at UC Davis teaching Rama Shankar Mishra, specialist in College of San Mateo, Jazz Camp West, Samba Bateria, and teaches perfor- the Benares Gharana style. Student and director of the highly acclaimed mance labs for the Music of Brazil of sarod maestro Ustad Ali Akbar John Santos Sextet. lecture at UC Berkeley. Brian has Khan focusing on the Seni Allaudin performed and/or recorded with Mike Gharana style. Performed throughout JA Marshall, Jovino Santos Neto, Spok, the United States, Canada, United C K Clarice Assad, Paulo Sergio Santos, Kingdom and India, recorded several IE R Danilo Brito, Dudu Maia, Chico solo CDs, and collaborated on major A G

Pinheiro, Alessandro Penezzi, Jorge recording projects with Grammy O Alabe, Almir Côrtes, João Paulo Award-winning artist Béla Fleck, and Amaral and Rogerio Souza. Brian is the renowned choreographer, Alonzo King. co-founder and artistic director of the Currently on faculty at the Ali Akbar Berkeley Festival of Choro and the College of Music. founder and director of Samba Seattle, and AfroCuban Folkloric Collective in

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Marcos Silva / Piano Chris Sullivan / Saxophone Sheryl Lynn Thomas / (Associate Professor, part-time) (Full Professor, part-time) Business of Music — Marketing Co-chair, Brazilian Jazz Studies DMA, University of Southern California (Associate Professor, part-time) Department (Jazz Studies/Music Teaching and MS in Entertainment Business, Full National and international perform- Learning); MM, William Paterson Sail University; BA in Drama from San ing and recording artist, composer, University (Jazz Performance); BM, Francisco State U. with emphasis on arranger, producer, educator; per- California Jazz Conservatory (Jazz Musical Theater. Marketing Director, formed with Leny Andrade, Emilio Studies). Saxophonist, educator, San Francisco Contemporary Music Santiago, Marcio Montarroyos, composer, and recording artist from Players; Marketing and Development Jon Lucien, Claudio Roditi; Music the Bay Area. Teaching assistant to Coordinator, Living Jazz; Digital Director, arranger, keyboards for Flora USC director, Bob Mintzer; led courses Marketing Manager, California Jazz Purim, Airto, Toninho Horta, Paquito in improvisation and composition, Conservatory; Marketing and Publicity D’Rivera, Bud Shank, Ricardo Silveira, directed small and large ensembles, Director, Patois Records; Managing Dori Caymmi, Nana Caymmi, Danilo and taught private lessons in the Director, Ridgeway Arts; Latin jazz and Caymmi, Edu Lobo, Joyce; leader, Thornton School of Music. Extensive world music recording artist; award Marcos Silva and Intersection. work as a studio musician, appearing recipient and honorary member of the on several albums in circulation, includ- International Thespian Society; vocal Edward Simon / Piano ing Michael Buble’s 2018 release, and acting training with San Francisco (Associate Professor, part-time) “Love.” Primary teachers include Academy for The Performing Arts, Pianist Edward Simon is a McDowell Bob Mintzer, Roy McCurdy, Vincent Seydways Acting Studio and John and Guggenheim Fellow, international Herring, Rich Perry, Bill Charlap, Dann Howard Swain. performing artist and educator. He Zinn, and Dayna Stephens. Maintains purmusicmarketing.com has served on the faculty at the New an active performance and teaching School for Jazz and Contemporary schedule between Los Angeles and Eric Thompson / Guitar Music, the City College of New York the Bay Area. (Associate Professor, part-time) and the University of the Arts and B.A., University of California, Berkeley. currently teaches piano and improvisa- Akira Tana / Drums Since 1962, international performing, tion at the New School for Jazz and (Adjunct Professor, part-time) recording and teaching guitarist/ Contemporary Music in New York. BM in Percussion, New England mandolinist, who has worked with David Mr. Simon has taught master classes Conservatory, 1979; BA in East Asian Grisman, Mike Seeger, the Charles River and clinics at music conservatories Studies, Harvard University, 1974. Valley Boys and many others. Faculty at and universities around the world. Performed with jazz greats Sonny Puget Sound Guitar Workshop, David He has twice earned the Certificate Rollins, Sonny Stitt, Zoot Sims, Hubert Grisman’s Mandolin Symposium, Kamp of Appreciation for Outstanding Laws, Milt Jackson, Jim Hall, Art Kaufman, Alabama Folkschool, Festival Service to Jazz Education from the Farmer, The Paul Winter Consort, of American Fiddle Tunes, Montana International Association for Jazz Paquito D’Rivera, James Moody, Fiddle Camp, and many others. Education (1999, 2004), has been a J.J. Johnson, Lena Horne, and Teaching videos and instructional member of SF Jazz Collective since The Manhattan Transfer, among books released by Stefan Grossman’s 2010 and is currently a member of the others. Performed at the Tanglewood Guitar Workshop and Mel Bay. Ninety Miles ensemble lead by Stefon Festival under the direction of Leonard Harris, David Sanchez and Nicholas Bernstein, Seiji Ozawa and Gunther Payton. Mr. Simon is a Yamaha Artist. Schuller and has accompanied diverse artists such as Charles Aznavour, A John Stowell / Guitar KI Maurice Hines and Van Dyke Parks. RA T (Visiting Professor, on occasion) Teaches privately and at San Francisco A N Thirty years of freelance experience State University. Conducts clinics and A teaching and playing internationally, master classes throughout the country adjunct faculty at numerous colleges sponsored in part by Yamaha Drums in the Pacific Northwest, published and Vic Firth Sticks. author (Mel Bay and Truefire), con- www.akiratana.com tributing columnist (Guitar Player,

DownBeat, Canadian Musician, etc.), MA RC ten CDs as a leader, twelve as a co- O S leader. Performance credits include S IL Paul Horn, Milt Jackson, Lionel V A Hampton, Dave Liebman, Billy Hart, Don Thompson and Pete Christlieb. johnstowell.com

68 69 FACULTY

Scott Thompson / Bass Linda Tillery / Voice Cindy Turner / Business (Instructor, part-time) (Associate Professor, part-time) (Associate Professor, part-time) B.M. In Jazz Studies, California Jazz Grammy-nominated vocalist, producer, B.S. and M.B.A. in New Ventures Conservatory in progress. National and percussionist, arranger, educator and and Small Business Management/ international performing and recording cultural historian. Performed with Marketing. Private consultant, Turner artist. Has performed/recorded with iconic bands Cream, Iron Butterfly, & Associates; competency in mar- Chico Pinheiro, The Hieroglyphics, Vanilla Fudge, Big Brother and the ket research and business planning; Souls of Mischief, Cesar Carmago Holding Company, Albert King, B.B. certified NxLevel Business Planning Mariano, Helio Alves, Thomas Pridgen, King, Santana, Taj Mahal, Mother instructor. Small business management E-40, Too $hort, Kiko Freitas, Ana Earth, Jeff Beck and a long list of Rock instructor – Berkeley City College, Gasteyer (Saturday Night Live), Marcos and Roll luminaries. Founding member U.C. Berkeley and JFK University. Silva, Toninho Horta, Urban Punk, of Bobby McFerrin’s Voicestra. A cen- Columnist: “How to” case studies rela- Latoya London (American Idol), Spok, tral figure in the Oakland’s R&B and tive to small business management. Oakadelic, Jovino Santos Neto, Rafael funk scene and the emerging genre Vernet, Tiago Costa, Dani Gurgel, of Women’s Music. She has appeared Dillon Vado / Vibraphone / Drums Deborah Gurgel, Thiago Rabello, on over 70 recordings by such artists (Instructor, part-time) Mauricio Zottarelli, Rafael Barata, Vitor as Carlos Santana, Boz Scaggs, Pete B.M. in Jazz Studies, California Jazz Gonçalves, Mark Levine, Ian Faquini, and Sheila Escovedo, Taj Mahal, Vicki Conservatory (in progress). Has Paula Santoro, Claudia Villela, Frank Randle, Eric Bibb, Mickey Hart, Bobby performed with Art Lande, The Marcus Martin, Jeff Buenz, Harvey Wainapel, McFerrin, Linda Ronstadt, Huey Lewis Shelby Jazz Orchestra, Jeff Denson, Jeff Cressman, Sandy Cressman, & The News, The Whispers, Holly Alan Hall, Paul Hanson, John Gove, Erik and Tulio Araujo, among others. Near, Turtle Island String Quartet and Jekabson, Mike Zilber and Mads Tolling Has taught at Festival Instrumental Keith Terry’s percussion ensemble, as well as in various musicals and the de Teresina in Brazil, Helsinki Music Crosspulse. Formed the six-member Santa Clara Vanguard. Has studied with Centre in Finland, California Brazil Cultural Heritage Choir — a percus- Christian Tamburr, Jason Lewis, David Camp, Jazz Camp West, Lafayette sion- driven vocal ensemble. An Flores and Alan Hall. Has taught Summer Music Workshop, Stanley authority on the African Diaspora in vibraphone and drums in both group Middle School, private lessons, work- song. Her current mission is to help and private lesson settings for over shops, ensembles, master classes, preserve and share the rich musical five years. among others. traditions of African American roots music. Arjun Verma / Sitar Suzy Thompson / Violin (Associate Professor, part-time) (Associate Professor, part-time) Mads Tolling / Violin, Viola BA in Psychology with a thesis in International performing and Arhoolie (Associate Professor, part-time) music learning techniques, Dominican recording artist, who has performed Internationally renowned violin- University of California. A student of with Jim Kweskin, Bruce Molsky, ist, violist, and composer. Two-time sarod maestro Ustad Ali Akbar Khan. Michael Doucet, Alice Gerrard and Grammy award-winner with the Turtle Recipient of the prestigious Shenson many other folk artists; residency/ Island Quartet. As violist with the Fellowship from the San Francisco guest lecturer at Berklee College of quartet, 2003–2007 and now as first Foundation. Performed throughout Music, U.C. Berkeley, E. Tennessee violinist, 2007–present, Mads main- the US and Europe including the State University, College of Wooster; tains an active touring and recording United Nations in Geneva, Switzerland, Emeritus Artistic Director of Festival schedule as well as composing and the New School in New York City and of American Fiddle Tunes; Founder giving master classes. Tours as jazz Prague Castle in Prague, Czech and Director of Berkeley Old Time violinist with the acclaimed bassist Republic. Currently on faculty at Music Convention; reviewer for the Stanley Clarke and his touring band. the Ali Akbar College of Music. Old Time Herald, contributor to In 06 and 08 as part of Turtle Island Fiddler Magazine; faculty: Augusta Quartet, Mads won two Grammy Heritage Center Cajun-Creole Week awards for Best Classical Crossover and Old-Time Week, Puget Sound album with the recordings “4+Four” Guitar Workshop, Alabama Folkschool, and “A Love Supreme — The Legacy LI ND California Bluegrass Association Camp, of John Coltrane.” Tolling has received A T IL Blues in the Gorge, many others. Denmark’s Sankt Annae’s Award for L E R Musical Excellence as well as grants Y from Queen Margaret, the Sonning Foundation and the Berklee Elvin Jones Award. He has performed with Paquito d’Rivera, Kenny Barron, Joe Lovano, Stefon Harris, Sergio & Odair Assad, Leo Kottke and Russell Ferrante.

68 69 FACULTY

Claudia Villela / Voice Harvey Wainapel / Saxophone (Adjunct Professor, part-time) (Visiting Professor, on occasion) B.A. in Music Therapy, Brazilian National and international record- FACULTY RANKINGS Conservatory of Music, Rio de ing/performing artist. Studied at Janeiro. A native of Rio de Janeiro, Berklee College of Music. Performed Full Professor: Resident faculty holding an award-winning singer/songwriter/ with jazz pianists Kenny Barron and a Ph.D. or demonstrating the equivalent. improviser/arranger who has per- McCoy Tyner, tenor saxophonist Widely recognized performers and/or formed and recorded with Michael Joe Henderson and drummer Billy academicians in the field of jazz who teach Brecker, Toots Thielemans, Kenny Hart. Toured with Joe Lovano and on a regular basis. Werner, Toninho Horta, Guinga, Ray Charles. A regular presence Dori Caymmi, Airto Moreira, Carlos on the Brazilian music scene in the Associate Professor: Resident Malta, Romero Lubambo and Ricardo U.S. Recorded and performed with faculty holding a Master’s degree Peixoto among others. A specialist in Brazilian artists such as Duduka da or demonstrating the equivalent. voice, piano and Brazilian percussion, Fonseca, Marcos Silva and Claudia Widely recognized performers and/or Villela has released 5 albums. In 2008, Villela. Produced and recorded five academicians in the field of jazz who teach she received a prestigious commis- albums as a leader. on a regular basis. sion from NYU to set Latin American poems to music. Villela has served on Katherine Westine / Piano Adjunct Professor: Resident faculty the faculty of California Brazil Camp (Associate Professor, part-time) holding the minimum of a Master’s and teaches workshops in Brazilian Post-graduate studies in Early Music, degree or demonstrating the equivalent. music on a regular basis. Norddeutsche Orgelakademie, Widely recognized performers and/or Bremen, Germany; MA in Organ academicians in the field of jazz who teach Marc van Wageningen / Performance, Lone Mountain College, on occasion. Electric Bass San Francisco; BA in Music History, U. (Adjunct Professor, part-time) of Washington, Seattle. Co-producer, Instructor: Resident faculty holding San Francisco Bay Area electric bass- Florio Street Concerts. the minimum of a Bachelor’s degree ist and recording artist specializing or demonstrating the equivalent. in funk, Latin and jazz. Performed Michael Zilber / Saxophone Widely recognized performers and/or with Diane Reeves, Tower of Power, (Full Professor, part-time) academicians in the field of jazz who give Pee Wee Ellis/Maceo Parker, Steve PhD in Composition, NYU; MM applied lessons on a regular basis. Smith, Stan Getz,George Duke, in Composition, Tufts U.; B Mus. Francisco Aquabella, Pete Escovedo, in Composition, New England Visiting Professor: Non-resident, nationally Eddie Marshall, Sheila E. and the E. Conservatory. National and interna- or Internationally renowned performers Train and Andy Narell among others. tional performing and recording artist, and/or academicians who teach on Recorded with Steve Winwood, Sheila composer, arranger, educator; occasion. E., Tom Grant, David Garibaldi, Pete performed with Dizzy Gillespie, Sonny Escovedo, Ray Obiedo, Linda Tillery, Stitt, Dave Liebman, Miroslav Vitous, FACULTY CLASSIFICATIONS Cornelius Bumpus and Teresa Trull and Bob Berg, Eddie Henderson, Fareed Barbara Higby. Served as house band Haque, Geoffrey Keezer, Donald Full-time: A course load of 12 classroom member for The Wayne Brady Show, Harrison, John Handy, Dave Douglas, hours / week and a load of up to 18 private But Can They Sing and The One. Marc Rachel Z, James Genus, Narada studio instruction hours / week taught on a has a debut recording out under the Michael Walden, Barry Finnerty, consistent basis by resident faculty. VW Brothers name titled “Muziek” on Steve Smith and Bruce Barth. Patois Records. michaelzilber.com Part-time: A course load of less than 12 classroom hours / week and up to 18 private Dann Zinn / Saxophone, Flute studio instruction hours / week taught on a (Associate Professor, part-time) consistent basis by resident faculty. BA Music Performance CSUEB, UCLA MI CH Adjunct: A course load of less than 12 A 3-time NFAA Outstanding Teacher E L classroom hours / week taught on an Z Recipient. Leader Dann Zinn Band. IL intermittent basis by resident faculty. B Featured on over 40 CDs. Performed/ E R Recorded with Joe Henderson, Dave Instructor: An indeterminate course load Eshelman, Jeff Tain Watts, Mary Wells, of applied lessons taught on a consistent Frank Harris, Barry Finnerty. Faculty basis by resident faculty. CSUEB, UCB, and Brubeck Institute. dannzinn.com Visiting: A course load of a determinate number of classroom hours / week taught for a determinate period of time by non- resident faculty.

70 71 COURSE DESCRIPTIONS

Audition for CJC’s Advanced-Level Blue and Green Ensembles!

The California Jazz Conservatory’s Blue and Green Ensembles offer advanced-level musicians demonstrating artistic leadership and academic excellence, an opportunity to strengthen musician- ship skills, develop artistic sensibility, and serve as important jazz ambassadors, while earning a Bachelor of Music Degree in Jazz Studies.

Members of our Blue and Green Ensembles immerse themselves in an intense performance schedule, overseen by a rotating faculty of the Bay Area’s top jazz teaching artists.

Ensemble members enjoy special opportunities throughout the year, participating in national and international tours, attending master classes with leading jazz professionals, and performing at major jazz festivals and popular jazz venues.

Contact Zach Mondlick ([email protected]) for details and an audition.

70 71 71 STAFF & BOARD

CJC STAFF Sheldon Alexander, Sam Priven, Michael Golds, Alex Shapiro-Romano, Thomas Weeks Operations Staff

Jesse Rimler PROGRAM STAFF Registrar and Custodian of Records

Kristine Seinsch Susan Muscarella Proprietor, Jazzcaffè President, California Jazz Conservatory (CJC) Karen Shepherd Financial Aid Director Jeff Denson Dean of Instruction Keiko Shinozaki Administrative Assistant, CJC Japan Rob Ewing Director, Jazzschool Robert Soper Piano Technician Laurie Antonioli Chair, CJC Vocal Program Director Sheryl Lynn Thomas Jazzschool Vocal Program Digital Marketing Manager

Erik Jekabson Elizabeth M. Williams Director, Jazzschool Young Musicians Program Director of Philanthropy

ADMINSTRATIVE STAFF CJC BOARD OF DIRECTORS

Bill Aron Business Manager Tyler Johnston (Chairman of the Board) Julie Birch Executive Vice President, Marketing, Data Manager, Systems Administrator Dreyer’s Grand Ice Cream, Inc., retired

Lee Brenkman Susan Brand Sound Technician (Vice Chairman of the Board) Ed.D. Clinical Psychologist Tatyana Dimitrova House Manager Richard A. Lyons (Director, Secretary) Partner, Wendel, Rosen, Black & Dean, LLP, Mary D’Orazi Attorneys at Law Development Associate, Concert Booking Manager Neil Rudolph (Director and Treasurer of the Board) Paul S. Fingerote Founding Partner, Symphony Asset Management Marketing & Public Relations Director LLC (Retired); Director and Treasurer of the Marin Chris Hardy, Mike Melnyk Agricultural Land Trust Staff Photographers

Max Hodes Steve Baker (Director) Director of Operations Executive Officer, Construction Survey, Inc.

Scott Latham Gordon C. Brooks (Director) Recruiting Director, CJC Japan Chief Financial Officer, FinancialForce

Zachary Mondlick Clifford Brown, Jr. (Director) Director of Recruitment President, Brown Radio and Audio Solutions

Kim Nucci Charles Charnas (Director) Systems Administrator, Technical Projects Director Former Vice President, Associate General Counsel, Corporate Law, and Assistant Secretary at Poulson Gluck Design Hewlett-Packard Company and Apple Inc. Graphic Design

72 73 STAFF & BOARD

James Ellis (Director) BOARD EMERITI Branch Manager, University Branch Center, Wells Fargo

Jerry Fiddler (Director) Denny Abrams (Director) Principal, Zygote Ventures Partner, Abrams-Millikan Design Construction Development, Emeritus Erle Flad (Director) Director, the Ward and Florence Beecher Sherie Friedlander (Director) Foundations; founder, Erle’s Solano Club; Sherie Friedlander Insurance Agency, Emeritus member, National Ski Patrol Sy Grossman, M.D. (Director) Rita Hargrave, M.D. (Director) Oakland Kaiser Permanente, Emeritus Geriatric Psychiatry Vaughan Johnson (Director) John Moss (Director) M.A.T., M.D., F.A.C.S., Emeritus Senior Vice President and General Counsel, James J. Keefe (Director) FinancialForce.com; Former Senior Vice President President and Owner, BCC Corporation, Emeritus and General Counsel, Commercial, Salesforce Bertram Lubin, M.D. (Director) Susan Muscarella (Director) President and Chief executive of Children’s Founding President and Hospital, Oakland Research Institute, Emeritus Dean of Instruction, CJC, Inc. Larry Marcus (Director) Gregg Perloff (Director) Managing Director, Founder and CEO, Another Planet Entertainment Walden Venture Capital, Emeritus

Jerry Povse (Director) Ernie Mieger (Director) Software Development Engineer, Microsoft Corp., Real Estate Operative, Emeritus retired Amy Orton (Director and CFO) Jim Reynolds (Director) Attorney at Law, Emeritus Roastmaster emeritus at Peet’s Coffee and Tea; Past president, Pacific Coast Coffee Association John Papini (Director), Real Estate Investor, Emeritus Eric Siegel (Director) Eric Siegel Productions; Director of Walter Riley (Director) Strategic Projects, UC Berkeley Attorney at Law, Emeritus

Judy E. Walters (Director) Danny Scher (Director) Higher Education Consultant President, Dansun Productions, Vice-President Bill Graham Presents, retired, Emeritus Kevin Whitman (Director) President and CEO of Whitman Development M. David Sherrill (Director) Company and Whitman Capital CFA, CFP, Morgan Stanley Smith Barney, New York, NY

Michael Zaninovich (Director) ADVISORY BOARD Vice President/Senior Investment Manager Wells Fargo, Emeritus

Tom Carr Patricia Phillips Carole Davis David Ring CATALOG PRODUCTION Paula Forney Jayne Sanchez Benny Green Chuck Sher Design: Poulson Gluck Design

Charles Hamilton Merrilee Trost Editorial: CJC Staff Stacey Hoffman Wayne Wallace Photography: Scott Chernis, Tatyana Dimitrova Mark Levine Peter Williams Chris Hardy, Robin Kempster Jason Olaine James Knox, Grason Littles Hali McGrath, Mike Melnyk Akida Thomas

Printing: Krishna Copy Center 72 73 APPLICATION

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

FIRST NAME MIDDLE NAME LAST NAME DATE

Name (if different from above on other academic records):

FIRST NAME MIDDLE NAME LAST NAME

( ) ( )

E-MAIL ADDRESS HOME PHONE CELL PHONE

/ / – –

BIRTHDATE (MM/DD/YYYY) SOCIAL SECURITY NUMBER

Instrument Voice

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

PERMANENT ADDRESS:

ADDRESS CITY STATE ZIP

CURRENT MAILING ADDRESS:

ADDRESS CITY STATE ZIP

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

SCHOOL LOCATION DATES ATTENDED DEGREE/DIPLOMA

1.

2.

3.

4.

5.

6.

7. APPLICATION

RÉSUMÉ

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

ACHIEVEMENTS

1.

2.

3.

4.

5.

AWARDS TITLE DATE DESCRIPTION

1.

2.

3.

4.

EXTRACURRICULAR ACTIVITIES DESCRIPTION DATES

1.

2.

3.

4.

OTHER INTERESTS

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:

BLACK / AFRICAN AMERICAN AMERICAN INDIAN / ALASKA NATIVE WHITE / CAUCASIAN

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 Studies at the CJC. Please submit approximately 1,000 words in Times New Roman, 12-point font. (please attach) LOCATIONLOCATION / DIRECTIONS / DIRECTIONS

Driving Directions

From San Francisco: UNIVERSITY AVE

Take the Bay Bridge to 1-80 East towards TAUBE MUSIC HALL Berkeley/Sacramento. Take the University BERKELEY REP California Jazz AURORA 2087 Avenue exit. Go east (towards the hills) 2 miles to THEATRE Conservatory ADDISON STREET Shattuck Avenue. Turn right on Shattuck Avenue FREIGHT & SALVAGE 2040 to Addison Street. Turn right on Addison Street. UC BERKELEY The CJC is immediately on your right. ART MUSEUM CENTER STREET BERKELEY CITY COLLEGE From East of Berkeley: MAGNES OXFORD STREET COLLECTION BERKELEY OF JEWISH From Highway 24, take the Berkeley exit: Highway YMCA ART & LIFE ALLSTON WAY 13/Tunnel Road/Ashby Avenue. Drive west on DAVID BROWER Ashby for 2 – 3 miles. Turn right on Shattuck CENTER BERKELEY Avenue. Drive north to Addison Street and turn HIGH SCHOOL KITTREDGE STREET UC BERKELEY left. The CJC is immediately on your right. BERKELEY PUBLIC LIBRARY

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. Go east (towards the hills) 2 miles to Shattuck FULTON STREET Avenue. Turn right on Shattuck Avenue to Addison Street. Turn right on Addison Street. CALIFORNIA JAZZ CONSERVATORY The CJC is immediately on your right. 2087 Addison Street 2040 Addison Street Berkeley, California 94704 Bay Area Rapid Transit — BART 510.845.5373 cjc.edu 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.

76 C Stellar Jam The CJC is honored to partner with Stellar Jam International Jazz Orchestra Festival! Learn more about this festival at stellarjam.com, tel: 81-3-6455-1937, [email protected]

76 C Welcome to the only independent, accredited music conservatory in America completely devoted to the study and performance of jazz.

“The most successful jazz education startup in the United States: The California Jazz Conservatory.” — Ted Gioia JAZZ HISTORIAN • AUTHOR • CRITIC

Cover: CJC student Autumn Salvo / Photo: Mike Melnyk