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. MUS204 MUS103 The Application of Eurhythmics Introductory Music Theory and Ear Training to Jazz Repertoire 3 credits, 3 hours lecture/lab 2 credits, 2 hours lecture/lab An introductory elective course taken on a Interpreting distinct rhythmic and melodic aspects pass/no pass basis designed to strengthen of select repertoire through coordinated physical knowledge of music theory and aural skills. movement and the voice. Instrumentalists and Successful completion of this course qualifies vocalists gain a deeper understanding of the students for enrollment in THE100A and MUS100. rhythmic and melodic underpinnings of significant Highly recommended for drummers and jazz and related repertoire to facilitate performance. vocalists. Students are advised to wear comfortable clothing to class.

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MUS205 MUS301 Chart Reading Workshop for Drummers Improvisation “Games” 3 credits, 3 hours lecture/lab 2 credits, 2 hours lecture/lab A hands-on workshop for drummers designed to Exercises in “game” form designed to develop cre- develop proficiency in sight reading and interpret- ative and conceptual approaches to improvisation. ing standard lead sheets and drum charts for both large and small ensemble. Students work with MUS302 pre-recorded jazz, funk, Latin, pop, rock, fusion Conversations with the Rhythm Section and show arrangements. Covers articulations, 2 credits, 2 hours lecture/lab set-ups, fills, tempo modulation, negotiating stick A hands-on workshop for Instrumentalists and vocal- changes and utilizing the click track. ists, addressing salient rhythmic, harmonic and melodic considerations found in standard and contem- MUS207 porary jazz repertoire. Students work with a profes- Double Bass Ensemble Workshop sional bassist and drummer. Maximum enrollment: 2 credits, 2 hours lecture/lab six students, excluding bassists and drummers. A course designed to develop technical facility through select repertoire for double MUS308 bass ensemble. Drum Grooves and Solos in Odd Meters 2 credits, 2 hours lecture/lab MUS208 A class focusing on grooves and solos over odd and Gypsy Jazz Guitar Styles and Techniques mixed meters as applied to jazz and funk genres. 2 credits, 2 hours lecture/lab Students study approaches embodied Analysis and practical application of the stylistic by groups including Dave Brubeck, Mahavishnu and technical aspects of gypsy jazz guitar style Orchestra, Dave Holland, Sting, Brad Mehldau from Django Reinhardt to the present. and the Pat Metheny Group among others. An acoustic guitar (played with a pick) is required. MUS309 Fusion Drumming Styles and Techniques MUS209A and MUS209B 2 credits, 2 hours lecture/lab Practical Applications for the Rhythm Section Fusion drumming styles and techniques from the 2 credits, 2 hours lecture/lab sixties to the present. Students learn the stylistic and A two-semester hands-on, interactive course for technical approaches utilized by fusion masters Tony pianists, guitarists, bassists and drummers focusing Williams, Steve Gadd, Dave Garibaldi, Bernard Purdie, on rhythmic considerations relevant to the rhythm Peter Erskine, Billy Cobham, Clyde Stubblefield, Alex section. Course covers the role of the individual Acuna, Steve Smith among others who blended the and the rhythm section as applied to jazz, Afro- power of rock, the syncopation of funk and the finesse Caribbean, South American and World music styles and technique of jazz into their respective personal past and present. styles. Techniques include odd meters, linear drumming, funk independence and the all-important ghost notes. MUS300A and MUS300B Advanced Musicianship MUS110 3 credits, 3 hours lecture/lab Vocal Technique for Instrumentalists A continuation of MUS200B. Designed to further 1 credit, 1 hour lecture/lab develop aural and visual perception of advanced An introduction to vocal technique and song rhythmic, melodic and harmonic material. Includes interpretation. Repertoire includes the sight singing, sight reading, rhythm, interval and Great American Songbook and standard chord recognition, and transcription. and contemporary jazz. Covers basic stage Prerequisite: MUS200B. presence and microphone technique. Instrumentalists may take up to 2 credits of Vocal Technique for Instrumentalists.

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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 MUS190A and MUS190B to 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 The Bebop Language (Drums) THE100A, THE100B, THE200A and THE200B 3 credits, 3 hours lecture/lab Jazz Theory and Improvisation A course for drummers, examining techniques of 3 credits, 3 hours lecture/lab the founding drummers idiomatic to the bebop A four-semester course covering jazz theory and and post-bop traditions. Includes analysis and improvisation techniques and styles based on the performance of key transcriptions of bebop and artistic practice of jazz masters, from the early post-bop masters as well as in-class application twentieth century innovations of Louis Armstrong, of the fundamental devices employed in modern to the contemporary artistry of Herbie Hancock jazz improvisation. Prerequisites: MUS201 and and beyond. Students gain a solid understanding THE200B. of jazz theory and improvisation, from the fundamentals to chord/scale theory, soloing, THE301 reharmonization, and transcription and analysis. Form and Analysis of Jazz Standards Theoretical concepts are illustrated with select 2 credits, 2 hours lecture/lab recordings of leading jazz artists and applied to A course in an ensemble format focusing on relevant exercises and repertoire in class. This form and analysis of jazz standards essential course lays important groundwork critical to the professional musician. Prerequisite: in the development of individual style. THE200B or concurrent enrollment.

THE201 THE302 Introduction to Jazz Transcription Polyrhythms and Odd Rhythm Groupings 1 credit, 1 hour lecture/lab 2 credits, 2 hours lecture/lab An introduction to techniques for transcribing jazz The nature and history of polyrhythms and odd melodies, rhythms, and chord progressions. rhythm groupings and their application to compo- Transcribing assignments increase in level of sition and improvisation. All instruments and voice. difficulty throughout the semester. This course Prerequisites: MUS100A and THE100A. serves as an optional prerequisite for THE200B, which involves advanced level transcription. THE303 Harmonic Progression in Jazz Standards THE202 2 credits, 2 hours lecture/lab In the Shed Transcription and analysis of harmonic progressions underpinning familiar jazz standards. Students 3 credit, 3 hours lecture/lab compare and contrast harmonic variations of select Practical application of skills critical to mastering work from quintessential recordings, juxtaposing the art of melodic jazz improvisation. Building them with notation found in various “real book” fluency in the theoretical concepts covered in Jazz editions. Theory and Improvisation. In group “shedding” format. Prerequisite: THE100A. THE305 THE300A 21st Century Trends and Aesthetics in Jazz The Bebop Language 2 credits, lecture — elective (Melodic/harmonic instruments) Analysis of work by seminal jazz artists from 2000 to the present, focusing on their signature 3 credits, 3 hours lecture/lab rhythmic, harmonic and melodic innovations A course for instrumentalists (melodic and harmon- and artistic influences. Artists covered include ic instruments), examining single line soloing Brad Mehldau, Rudresh Mahanthappa, Gilad techniques idiomatic to the bebop and post-bop Hekselman and Gretchen Parlato, among others. traditions. Includes analysis and performance of Prerequisites: THE200B and HIS200A key transcriptions of bebop and post-bop masters as well as in-class application of the fundamental devices employed in modern jazz improvisation. Prerequisites: MUS201 and THE100B.

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THE400 THE315A, 315B Advanced Transcription and Single Line Soloing for Vocalists Analysis of the Jazz Masters 3 credits, 3 hours lecture/lab 3 credits, 3 hours lecture/lab A course for vocalists (or instrumentalists who wish A continuation of THE300A Jazz Theory and to participate as vocalists) focusing on developing Improvisation, focusing on transcription and single line soloing techniques idiomatic to the analysis of more challenging works by jazz masters. bebop and po st-bop traditions. Includes analysis and performance of key transcriptions of bebop THE405 and post-bop masters as well as in-class applica- Chromatic Approaches to Improvisation tion of the fundamental devices employed in 3 credits, 3 hours lecture/lab modern jazz improvisation. Prerequisites: MUS201 An extension of THE300 The Bebop Language, and THE100B. this course focuses on chromatic approaches to improvisation based on the iconic work of John THE330 Coltrane, the second Miles Davis Quintet, Joe Latin Jazz Theory and Improvisation Henderson, Chick Corea and others, whose stylistic 3 credits, 3 hours lecture/lab approaches to improvisation became known as Latin jazz theory and improvisation techniques and playing “inside out.” Further developed and styles based on the artistic practice of Latin jazz refined by Woody Shaw, Kenny Kirkland, Kenny masters, from the early twentieth century innova- Garrett and Michael Brecker, jazz master Dave tions of Arsenio Rodriguez to the contemporary Liebman codified this pioneering approach into artistry of Eddie Palmieri and beyond. Students what he coined “the common language,” a gain an understanding of Latin jazz theory and systematic method of integrating chromaticism into improvisation, from the rhythmic fundamentals, improvisation to achieve harmonic tension and including the function of clave, to chord/scale release: to play “inside out.” Prerequisite: THE300 theory, soloing, reharmonization, and transcription or consent of instructor. and analysis. Theoretical concepts are illustrated with select recordings of leading Latin jazz artists and applied to relevant exercises and repertoire in class. This course lays groundwork critical in the development of individual style. Prerequisites: THE200B or concurrent enrollment.

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THE250 HARMONY Traditional North Indian Rhythmic Concepts for the Jazz Musician HAR390A 3 credits, 3 hours lecture/lab Western European Harmonic An in-depth exploration of traditional rhythmic Practice from 1600 to 1820 concepts from the North Indian system of classical 3 credits, 3 hours lecture music. Through the medium of vocal percussion Focusing on compositions from the Baroque and syllables known as bols, students are introduced Classical periods, this first-semester course covers to Indian rhythmic idioms such as tala (rhythmic preparatory material for the study of harmony, cycles), layakari (rhythmic modulation), and tihai figured bass, harmonization of melodies, voice (thrice-repeated cadential phrases used to end leading, cadences, theory of chord progression, a musical idea). Students learn traditional Indian chord progressions in the diatonic major and rhythmic compositions drawn from the repertoire minor, chord inversions, and an introduction of classical North Indian percussion instruments to analysis. such as tabla and pakhawaj. This class delves into the history and theory of North Indian rhythm as HAR390B well as its influence on jazz over the last 50 years. Western European Harmonic Emphasis is placed on pointing out the cross- Practice from 1820 to the Present cultural applications of Indian rhythmic concepts 3 credits, 3 hours lecture to any instrument and any style of music, enriching Focusing on compositional styles of the Romantic students’ compositional and improvisational skills. and Contemporary Periods, this second-semester course covers formal analysis, advanced techniques THE251 related to sequences, mixture, Neapolitan chords, Traditional South Indian Rhythmic augmented 6th chords, diatonic and chromatic Concepts for the Jazz Musician modulation, and twelve-tone techniques. 3 credits, 3 hours lecture/lab An in-depth exploration of traditional rhythmic HAR390C concepts from the South Indian system of classical 20th Century Harmony music. Through the medium of vocal percussion 3 credits, 3 hours lecture syllables known as solkattu, students are intro- A course examining works by the major composers duced to Indian rhythmic idioms such as tala of western art music from the beginning of the (rhythmic cycles), nadai (odd subdivisions of the 20th century to today. Analysis of the theories beat), layakari (rhythmic modulation), and mora behind various post-tonal approaches. Coursework (thrice-repeated cadential phrases used to end focuses on short composition exercises utilizing the a musical idea). Students learn traditional Indian various practices studied. Emphasis is on integrating rhythmic compositions drawn from the repertoire these tools into students’ own work. The final project of classical Indian percussion instruments such is a short composition read by a professional as tabla, mridangam, kanjira, ghatam, thavil, and ensemble. Prerequisites: HAR390B. Concurrent morsing. Emphasis is placed on pointing out the enrollment in PRF390 also recommended. cross-cultural applications of Indian rhythms to any instrument and any style of music, enriching students’ compositional and improvisational skills.

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COMPOSITION COM301A Jazz Arranging — Small Ensemble COM210 3 credits, 3 hours lecture/lab Lyric Writing A one-semester introductory course on basic jazz 2 credits, 2 hours lecture/lab arranging techniques for the small ensemble. A course focusing on the various techniques Students learn ranges and characteristics of instru- utilized by lyricists including Great American ments, rules for notating rhythm, how to lay out a Songbook legends Lorenz Hart, Cole Porter and score, how to write for the rhythm section, how to Howard Dietz; vocalese wordsmiths Jon Hendricks, compose melodies and chord progressions, how Annie Ross, Kurt Elling and King Pleasure; and to set a melody to chords, how to voice chorale-style popular songwriters Joni Mitchell and Sting. chords, how to harmonize a moving melodic line Students build a repertoire of original lyrics set with two to five voices, and various ways of to select instrumental works as well as their addressing form. Students are assigned three own compositions. Open to vocalists and instru- to five arranging projects. The final project is mentalists. Prerequisites: Concurrent enrollment in an arrangement for five horns and rhythm section PRF110A and PRF210A required. that is recorded.

COM300 COM301B Jazz Composition Jazz Arranging — Large Ensemble 3 credits, 3 hours lecture/lab 3 credits, 3 hours lecture/lab A concentrated writing course utilizing the A one-semester introductory course on basic jazz compositional styles and techniques of the master arranging techniques for the large ensemble. composers as points of departure in creating new Students review ranges and characteristics of work. Composers studied include Ellington, Parker, instruments, rules for notating rhythm, how to lay Silver, Mingus, Monk, Coltrane, Hancock, Hender- out a score, how to voice chorale-style chords, and son, Shorter, Brecker, Liebman, Grolnick, Pastorius, how to harmonize a moving melodic line with five Towner and more. Melodic, harmonic and rhythmic voices. Through analysis of works by the masters techniques employed in the music of Mozart, from Duke Ellington to Maria Schneider, students Beethoven, Brahms, Debussy and other relevant also explore different techniques for large scale past masters are also examined and applied to development of form, chord voicings for more than students’ work. five horns and large ensemble texture and orches- tration techniques. Required text: Inside the Score, COM400 by Rayburn Wright. Students are assigned three Jazz Composition Seminar arranging projects. All assignments must be 3 credits, 3 hours lecture/lab completed on a program such as Finale or A continuation of COM300. A seminar addressing Sibelius. The final project is an arrangement for advanced composition techniques and their full big band. Prerequisite: COM301A or consent practical application in performance. of instructor. Prerequisite: COM300 or consent of instructor. COM390 Counterpoint 2 credits, 2 hours lecture/lab Contrapuntal techniques and styles of seven- teenth- and eighteenth-century instrumental and vocal music, providing a solid foundation for voice leading. Includes the writing of cantus firmus, two- and three-part species counterpoint, and combined species in three voices, in major and minor modes. Analysis of a range of important contrapuntal work including the canons, inventions and fugues of J.S. Bach.

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HISTORY HIS100B Jazz Style and Culture The History of Jazz in America from 1920 – 1939 A four-semester course examining the musical and 3 credits, 3 hours lecture cultural development of the African American art A survey of early jazz styles from the Jazz Age of form jazz — from its antecedents in the musical the Prohibition era through the reign of the swing cultures of West Africa, Western Europe and the bands and the jitterbug. The music of Louis New World, to the music that is performed Armstrong, Duke Ellington, Count Basie, Ella internationally today. Through extensive listening, Fitzgerald and many others is studied within the reading and discussion, students gain a solid contexts of the post-World War I economic boom, understanding of jazz, a twentieth-century urban the Great Depression, ballrooms and big bands, dance music that has become globally celebrated the rise of sound motion pictures, American as a cultural art form embodying the ideals of musical theater and the Great American Song- freedom and democracy. book, among other socioeconomic and cultural touchstones. Prerequisite: HIS100A. HIS100A – 200B fulfills the CJC Social Sciences requirement. Please note: the Social Sciences HIS200A requirement is not transferable from another Jazz Style and Culture institution. This requirement must be fulfilled in America from 1940 – 1959 at the CJC. 3 credits, 3 hours lecture This course explores jazz as an art form, with a HIS100A focus on the musical innovations of modern jazz The Roots of Jazz and Early Jazz, through the beginnings of free jazz. Styles includ- Pre-1900 – 1919 ing bebop, hard bop, funk, Latin jazz, cool jazz, 3 credits, 3 hours lecture and other styles created by Charlie Parker, Dizzy This course examines the influences of West Gillespie, Thelonious Monk, Miles Davis, Max African, Caribbean, South American, Asian and Roach, the Modern Jazz Quartet, Art Blakey’s and European music and culture on the development Horace Silver’s Jazz Messengers, John Coltrane, of jazz pre-1900, and on the early music of New Ornette Coleman and many of their collaborators Orleans that became known to the world as jazz are examined, focusing on instrumental grouping, by 1917. The course focuses on the West African structural, harmonic and rhythmic creativity, and conceptual approaches, practices, and cultural folk influences. Students draw connections conventions that form the foundation of jazz, and between the mid-century impact of World War II, its origins in spirituals, blues, ragtime and other the Atomic Age and the Cold War, the hegemony African American sacred and secular music. The of television, advertising, the burgeoning Civil development of jazz is studied within the historical Rights Movement and other historical context of American social forces including epochs upon the evolution of jazz. post-bellum segregation, the industrial Prerequisite: HIS100B. boom and the Great Black Migration, World War I, and the invention of the radio and sound recordings.

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HIS200B HIS261 Style and Culture History of Funk in America from 1960 – 1979 3 credits, 2 hours lecture 3 credits, 3 hours lecture A course tracing the history of funk, the R&B-based This course surveys the range of idioms and genre that originated in the 1960s. Influencing a subgenres of post-Coltrane jazz, particularly the wide range of musics including gospel, rock, jazz, evolution of free jazz with Cecil Taylor, Albert hip-hop, Afro-Caribbean and South American, funk Ayler, the AACM, the 1970s New York Loft Scene, also reflected the radical social change of the 60s and jazz in Europe. The music and ideas of and 70s, including the struggles for Civil Rights, Wynton Marsalis are juxtaposed with the electronic Black Power, Women’s Rights, Gay Rights and the fusion music of Miles Davis and his collaborators, emergence of alternative cultures. Artists and bands Herbie Hancock, Weather Report, Chick Corea covered include Ray Charles, James Brown, Sly and and others, and the return of jazz to its dance the Family Stone, Ohio Players, Parliament Funk- origins. The steady influx of global influences from adelic, Earth, Wind and Fire, Miles Davis, Weather traditional and contemporary musicians from Report, and Herbie Hancock’s Headhunters as well Africa, Asia, and the New World continues to as Bay Area-based bands Tower of Power, Cold infuse a diverse range of compositional styles, Blood, Azteca, Sons of Champlin, Pointer Sisters, forms and instruments into the jazz world. Larry Graham and GCS, and George Duke. Prerequisite: HIS200A. HIS300 HIS110 Jazz and Cross-Cultural Practice The Great American Songbook: 2 credits, 2 hours lecture The Jazz Standard A review of selected musical traditions of the 2 credits, 2 hours lecture/lab world and their cross-cultural and intercultural An overview of the evolution of The Great Ameri- application to jazz. can Songbook — the canon comprising American popular songs written originally for musical theatre HIS301 and later film between 1920 –1950. Now the New Orleans: The Birthplace of Jazz cornerstone of modern jazz, the repertoire of the 2 credits, 2 hours lecture Great American Songbook arose during the decade A course tracing the musical influence of the of the Jazz Age, The Great Depression, WWII and international port of New Orleans, the melting the unprecedented economic growth that took pot for music innovation and cultural exchange place in 1950s America. This singular body of work that is the wellspring of the American art form, manifested hope, built morale, eased social jazz. Explores the African American experience barriers and reflected our country’s promise for of cultural resilience through dance, singing and the future. Students examine the lives and perform drumming traditions that fused elements from the work of the central composers of this period, various cultures with gospel, blues and the Latin including Jerome Kern, Irving Berlin, George tinge. Includes analysis of important recordings Gershwin, Cole Porter, Duke Ellington, Richard as well as in-class performance of traditional and Rogers and Harold Arlen among others. Note: This modern New Orleans-style funeral marches, street course serves as a requirement for vocalists and is parades, brass bands and other music employing a highly recommended elective for instrumentalists. improvisation, syncopation, call and response and Prerequisites: Concurrent enrollment in PRF110A friendly competition that continue to influence and PRF210A required. music throughout the world.

I also listen to what I can leave out. — Miles Davis

38 39 A Master’s Degree for the 21st Century Jazz Composer-Performer

In keeping with historical convention in jazz — from composer-performers Jelly Roll Morton to Wayne Shorter and beyond — the degree’s collective emphasis nurtures the professional jazz musician who aspires to both compose and perform.

Given the music’s inherent multicultural origins and continued development on an international scale, CJC’s MM in Jazz Studies: The Jazz Composer-Performer approaches the study and performance of jazz from a global perspective.

Professional-level jazz musicians seeking to further develop proficiency in both jazz composition and performance are invited to apply. A Faculty of Leading Composer-Performers

The San Francisco Bay Area’s preeminent composer-players comprise the CJC MM degree program faculty, artists who excel at performance and teaching:

Laurie Antonioli Kate McGarry Dr. Anthony Brown Dr. Aaron Mobley Dr. Jeffrey Denson Ami Molinelli Erik Jekabson Reto Peter Dr. Jason Levis Dr. Michael Zilber Jeff Marrs Dann Zinn

Visiting artists include Brian Blade, Theo Bleckmann, Benny Green, Romain Pilon and Edward Simon, among others. COURSE DESCRIPTIONS

HIS302 HIS310 The Miles Davis Legacy The Jazz Singers 3 credits, 3 hours lecture/lab 2 credits, 2 hours lecture Arguably one of the most important and influential A history class focusing on the legendary jazz figures in modern jazz, trumpet player, bandleader singers from the perspective of the first instrument, and innovator Miles Davis shaped virtually every the voice. Students listen to and learn about a facet of America’s most important art form gamut of jazz singers and their greatest contribu- throughout a recording and performing career tions, beginning with the precursors of jazz from that spanned six decades. Beginning with Charlie work songs, field hollers, spirituals, rag and blues, Parker’s group in 1945 until his death in 1991, to the “holy trinity” — Billie Holiday, Sarah Miles directly influenced every important jazz Vaughan and Ella Fitzgerald — on to jazz today movement and musician. Through his recordings and its future. Students learn to identify stylistic and those of his towering sidemen, this course nuances unique to each artist as well as becoming traces the development of modern jazz from familiar with the important instrumentalists bebop to cool, to hard bop to modal, to orchestral supporting them. Lectures include an overview jazz to “time no changes,” to fusion. of the social climate of each period, fostering a greater understanding of how this music was HIS308 created and has evolved. Film shorts of some The Language of Hard Bop of the renowned artists are shown throughout 3 credits, 3 hours lecture/lab the course. Students are asked to attend and Drawing on quintessential recordings of the 50s write reviews of two live jazz concerts. and 60s hard bop era, students listen to, explore and discuss selected works of hard bop masters, HIS330 focusing in particular on the collaborative spirit Latin American Roots of Jazz inherent in jazz. Recordings include iconic Blue 2 credits, 2 hours lecture Note Records artists such as Art Blakey’s Jazz A survey of the evolution and relevance of the Messengers “family tree,” Miles Davis’ small Afro-Latino roots of jazz. This course examines groups and more. Students apply concepts the pan-American sociopolitical circumstances that characteristic of the hard bop style to in-class brought Afro-Latino music and jazz together as performance of jazz repertoire. Prerequisites: branches of the same tree. Emphasis is placed on MUS200B and THE200B or permission of instructor. the historical development of the especially influen- tial music of Cuba, New York and Puerto Rico. HIS309 Students listen to rare recordings from 1900 to the Jazz Oral History Methodology present. Music is analyzed through lecture, listening 3 credits, 3 hours lecture/lab and discussion and broadens an understanding of An introduction to jazz oral history methodology. jazz from both stylistic and historical perspectives. Students learn research techniques in literature review focusing on biographies and autobiogra- HIS340 phies; oral history methodologies including Brazilian Roots of Jazz research, preparation, transcription and analysis of 2 credits, 2 hours lecture interviews; and interview, audiovisual and archival A survey course tracing the Brazilian roots of techniques and their application. In partnership jazz — from their mid-nineteenth century African with the Smithsonian Institution, students work and European-influenced folkloric origins to the with and contribute to the collection of the mid-twentieth century emergence of the samba- Smithsonian Jazz Oral History Program at derived bossa nova and beyond. the National Museum of American History. Prerequisite: HIS100A or consent of instructor.

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HIS370 HIS390A The Beatles History of Western European Music 3 credits, 3 hours lecture from Antiquity to 1750 An examination of the life and work of the 3 credits, 3 hours lecture incomparable English rock and pop group The This course traces the development of Western Beatles, framing the group’s career in the context European art music from the 10th century through of the vibrant social, cultural, and political climate the middle 18th century, focusing on the musical of the 1960s. Attention is given to the group’s styles of the master composers of the Medieval, impeccable song writing, their rapid rise to Renaissance and Baroque periods. Emphasis on fame, and their creative use of newly-available the socio-economic and political conditions that technology in the recording studio. gave rise to them.

HIS385 HIS390B History of American Roots Music History of Western European Music from 1900 – Present from 1750 to the Present 2 credits, 2 hours lecture 3 credits, 3 hours lecture A survey course on the history and cultural This course traces the development of Western significance of American acoustic music styles, European art music from the middle 18th century from traditional country, blues and bluegrass, to through the twentieth century and beyond, singer-songwriter, and newgrass (progressive focusing on the musical styles of the master bluegrass), among other contemporary composers of the Classical, Romantic and acoustic sounds. Twentieth Century periods and beyond. Emphasis on the socio-economic and political HIS386 conditions of each period. The Blues: From Spirituals to Ornette Coleman HIS390C 3 credits, 3 hours lecture History of 20th Century Music A course focusing on the salience of the blues, 3 credits, 3 hours lecture tracing its late nineteenth century origins in A sequel to HIS390B, a course tracing the lives African-American spirituals, work songs and field and music of seminal 20th century composers hollers to its ubiquitous role throughout the who abandoned the functional harmonic conven- historical continuum of jazz. tions of the past for uncharted territory: from the 12-tone serialism of Schoenberg to the minimalism HIS387 of Glass. Composers examined include Debussy, Protest Songs — From the African Stravinsky, Bartók, Berg, Webern, Cage, Partch, American Work Song to Women’s Rights Carter, Boulez, Takemitsu, Reich and Adams, 3 credits, 3 hours lecture among others. Emphasis on composers’ respective An historical overview of protest songs, from the philosophical viewpoints within the wider historical African American roots tradition (work songs, context of the 20th century. spirituals, field hollers, moans, ring shouts and plantation dances) through the Civil Rights, Anti-War, Free Speech and Women’s Rights movements –– sacred and secular oral traditions manifesting cultural resistance and a cri de coeur for freedom and equality. t’s not so much thinking I ahead as hearing ahead. — Professor John Gove, MM CJC Faculty

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PRF201 PRIVATE INSTRUCTION Miles / Wayne Ensemble 2 credits, 3 hours lab PRV100A, 100B, 200A, 200B, The repertoire of Miles Davis and Wayne Shorter. 300A, 300B, 400A AND 400B Instrumental Private Instruction PRF203 1 credit, 1 hour lecture Jazz Fusion Ensemble Eight semesters of private instruction for 2 credits, 3 hours lab instrumentalists, one hour per week with select Repertoire by composers in the jazz fusion faculty. The Private Instruction requirement may tradition including Chick Corea, John McLaughlin, include up to two semesters of instruction in Jaco Pastorius and Jean-Luc Ponty among others. Western European classical repertoire. PRF204 PRV110A, 110B, 210A, 210B, Gypsy Jazz Ensemble 310A, 310B, 410A and 410B 2 credits, 3 hours lab Vocal Private Instruction Repertoire by composers in the gypsy jazz tradition 1 credit, 1 hour lecture including Django Reinhardt and Stephane Grappelli Eight semesters of private instruction for among others. Open to voice, violin, viola, cello, vocalists, one hour per week with select faculty. accordion, solo guitar, rhythm guitar and bass.

PRF205 INSTRUMENTAL PERFORMANCE Wes Montgomery Ensemble ENSEMBLES 2 credits, 3 hours lab The repertoire of Wes Montgomery. Open to guitar, piano, bass, drums, and saxophone. PRF 000 Series — Jazz Ensembles PRF206 PRF100 – 400 Guitar Ensemble Jazz Repertoire Ensemble 2 credits, 3 hours lab 2 credits, 3 hours lab Jazz, Latin American and Western European Standard and contemporary jazz repertoire. repertoire arranged for 4 – 8 guitarists.

PRF-V100 – 499 PRF207 The Virtual Ensemble Blues and R&B Ensemble 2 credits, 2 hours lecture/lab 2 credits, 3 hours lab A performance-based virtual environment Repertoire of blues and R&B composers from applicable to ensembles of all styles, focusing on the 1940s to the present. a combination of artistic and technological consid- erations essential to keeping pace with twenty-first PRF301 century collaborative virtual trends. Odd Meter Ensemble 2 credits, 3 hours lab PRF101 Repertoire in odd meters by composers Horace Silver Ensemble including John McLaughlin, George Duke, 2 credits, 3 hours lab Milton Nascimento, Nguyen Le, Airto Moreira, The repertoire of Horace Silver. Esbjorn Svensson and Jeff Beck among others; also odd meter arrangements of jazz standards.

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PRF302 PRF306D New Orleans Ensemble — Jazz Horn Trio 1920s to the Present 1 credit, 1 hour lab 2 credits, 3 hours lab Standard and contemporary jazz repertoire. Open Repertoire of composers in the early New Orleans to two students and one faculty: one on horn; jazz tradition including Joe “King” Oliver, Louis one on bass; and one on drums. Note: The trio Armstrong, and the Preservation Hall Jazz ensemble rate applies to this course (see page 10). Band along with current funk and brass bands coming out of the “Crescent City” including PRF307 Rebirth Brass Band, Trombone Shorty and the Chick Corea Ensemble Dirty Dozen Brass Band. Emphasis on learning 2 credits, 3 hours lab repertoire by ear. The repertoire of Chick Corea.

PRF303 PRF308 Charles Mingus Ensemble Improvised Music Ensemble 2 credits, 3 hours lab 2 credits, 3 hours lab The repertoire of Charles Mingus. Repertoire of spontaneously composed music in the jazz tradition. PRF304 Art Blakey Ensemble PRF309 2 credits, 3 hours lab Percussion Ensemble The repertoire of Art Blakey. 2 credits, 3 hours lab Repertoire by noted composers; also features PRF305 students’ original work. Prerequisite: Intermediate Jazz Orchestra hand drum and stick technique and the ability to 2 credits, 3 hours lab read rhythmic notation. Standard and contemporary big band literature. PRF403 PRF306A Pat Metheny Ensemble Jazz Piano Trio 2 credits, 3 hours lab 1 credit, 1 hour lab The repertoire of Pat Metheny. Standard and contemporary jazz repertoire. Open to two students and one faculty: one on piano; PRF405 one on bass; and one on drums. Note: The trio Jazz Tentet ensemble rate applies to this course (see page 10). 2 credits, 3 hours lab Arrangements for tentet: 1 alto saxophone; 1 tenor PRF306B saxophone; 1 baritone saxophone; 2 trumpets; Jazz Guitar Trio 1 trombone; piano; bass; drums; and guitar. 1 credit, 1 hour lab Standard and contemporary jazz repertoire. Open PRF408 to two students and one faculty: one on guitar; one Original Compositions Ensemble on bass; and one on drums. Note: The trio ensem- 2 credits, 3 hours lab ble rate applies to this course (see page 10). Repertoire composed and performed exclusively by ensemble students. PRF306C Jazz Organ Trio PRF409 1 credit, 1 hour lab Post-Bop Ensemble Standard and contemporary jazz repertoire. Open 2 credits, 3 hours lab to two students and one faculty: one on organ; one The repertoire of composers in the post-bop on bass; and one on drums. Note: The trio ensem- tradition including John Coltrane, Miles Davis, ble rate applies to this course (see page 10). Joe Henderson and Wayne Shorter, among others.

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PRF232 PRF 020 Series — Strings Ensembles Eddie Palmieri Ensemble 2 credits, 3 hours lab PRF 120 – 420 The repertoire of Eddie Palmieri. Jazz Strings Chamber Ensemble 2 credits, 3 hours lab PRF335 Repertoire of composers in the jazz strings Afro-Cuban Percussion Ensemble tradition including the Turtle Island Quartet, 2 credits, 3 hours lab Darol Anger, Jean-Luc Ponty, Edgar Meyer and The performance and history of traditional, popular Evan Price among others. Open to violinists, and contemporary Latin American repertoire. violists, cellists and double bassists. Prerequisites: Intermediate hand drum and stick technique, and the ability to read rhythmic PRF321 notation. Jazz String Quartet 2 credits, 3 hours lab PRF336 Repertoire of composers in the jazz string quartet Afro-Cuban Orchestra tradition including Quartet San Francisco, the 2 credits, 3 hours lab Turtle Island Quartet, Darol Ander, Jean-Luc Ponty, The repertoire of composers in the Afro-Cuban Edgar Meyer and Evan Price among others. Open tradition including Tito Puente, Francisco to 2 violinists, 1 violist and 1 cellist. Aguabella, Eddie Palmieri, Machito and Tite Curet Alonso among others. PRF326 Jazz String Trio PRF338 1 credit, 1 hour lab Tangos, Choros and Frevos Standard and contemporary jazz repertoire. Open 2 credits, 3 hours lab to two students and one faculty on violin, viola, Repertoire of composers in the Latin American cello or double bass. Note: The trio ensemble tradition including Astor Piazzola, Egberto rate applies to this course (see page 10). Gismonti, Jose Maria de Abreu, Toninho Horta, Edu Lobo and Steve Erquiaga among others. Diverse PRF 030 Series — instrumentation welcome! Latin American Ensembles PRF339 PRF230 Astor Piazzolla Ensemble Latin Jazz Ensemble 2 credits, 3 hours lab The repertoire of Astor Piazzolla. Open to the 2 credits, 3 hours lab following instrumentation: bandoneon, accordion, Repertoire of composers in the Latin jazz tradition harmonica or melodica, piano, double bass, drums, including Chucho Valdés, Rafael, René and Oscar percussion, electric guitar, violin (2), cello, flute, and Hernandez, Pedro Flores, Tito Puente and John clarinet. Santos among others.

PRF231 PRF 040 Series — Brazilian Ensembles Afro-Venezuelan Jazz Ensemble 2 credits, 3 hours lab PRF240 Repertoire of composers in the Afro-Venezuelan Brazilian Jazz Repertoire Ensemble jazz tradition including Aquiles Baez, Aldemaro 2 credits, 3 hours lab Romero and Simón Díaz among others. Repertoire of composers in the Brazilian jazz tradition including Antônio Carlos Jobim, Toninho Horta, Chico Pinheiro, Hermeto Pascual, Dori Caymmi and Marcos Silva among others.

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PRF242 PRF 060 Series — Blues, R&B, Funk Choro Ensemble and Reggae Ensembles 2 credits, 3 hours lab Repertoire by composers in the choro tradition PRF260 including Pixinguinha, Jacob do Bandolim, Ernesto Blues and R&B Ensemble Nazareth and Waldir Azevedo among others. 2 credits, 2 hours lab Repertoire in the blues and R&B tradition from PRF245 the 1940s to the present. Brazilian Rhythm Ensemble 3 credits, 3 hours lab PRF261 Applied rhythms and percussion techniques from East Bay Funk Ensemble across Brazil focusing on the history and musical 2 credits, 3 hours lab practice from three major cultural areas of Brazil: Repertoire of composers in the funk tradition Rio de Janeiro; Salvador, Bahia; and the including Sly and the Family Stone, Cold Blood, northeastern state of Pernambuco. Tower of Power and The Headhunters among others. PRF246 Brazilian Jazz Guitar Ensemble PRF262 2 credits, 3 hours lab Ska and Reggae Ensemble Brazilian jazz repertoire arranged for 4 – 8 guitarists. 2 credits, 3 hours lab Repertoire of composers in the Ska, Rocksteady, PRF346A and Reggae tradition including the Skatalites, the Brazilian Jazz Piano Trio Upsetters, Bob Marley and the Wailers, Sly and 1 credit, 1 hour lab Robbie, and Roots Radics among others. Open Repertoire of composers in the Brazilian jazz to all instrumentalists and vocalists. tradition including Antônio Carlos Jobim, Toninho Horta, Chico Pinheiro, Hermeto Pascual, Dori Caymmi and Marcos Silva among others. Open PRF 070 Series — Pop Ensembles to two students and one faculty: one on piano; one on bass; and one on drums. Note: The trio PRF370 ensemble rate applies to this course (see page 10). Sting Ensemble 2 credits, 2 hours lab PRF346B The repertoire of Sting from “The Police” Brazilian Jazz Guitar Trio to the present. 1 credit, 1 hour lab Repertoire of composers in the Brazilian jazz tradition including Antônio Carlos Jobim, Toninho PRF 080 Series — Horta, Chico Pinheiro, Hermeto Pascual, Dori North American Roots Ensembles Caymmi and Marcos Silva among others. Open to two students and one faculty: one on guitar; PRF280 one on bass; and one on drums. Note: The trio Bluegrass Ensemble ensemble rate applies to this course (see page 10). 2 credits, 3 hours lab Repertoire of composers in the traditional and contemporary bluegrass tradition PRF 050 Series — Indian Ensembles from Bill Monroe to Béla Fleck. Open to acoustic guitar, mandolin, fiddle, banjo, PRF250 acoustic or electric bass, dobro and vocals. North Indian Classical Ensemble 2 credits, 2 hours lab Repertoire in the North Indian classical music tradition, focusing on ragas, talas and compostions by sarod virtuoso Ali Akbar Khan. Students utilize both Indian (sargam) and western music notation. 46 47 COURSE DESCRIPTIONS

PRF381 PRF 090 Series — Louisiana Cajun and Zydeco Ensemble Western European Ensembles 2 credits, 2 hours lecture Repertoire of composers in the accordion-central PRF290 Cajun and zydeco traditions, originating from the Saxophone Quartet French-speaking Cajun and Creole communities 2 credits, 3 hours lab in Southwestern Louisiana. Repertoire of composers from the Baroque to bebop periods and beyond. Open to 1 soprano, PRF382 1 alto, 1 tenor and 1 baritone saxophone. Early Blues/Jug Band 2 credits, 3 hours lab PRF390 Early American blues and roots repertoire Contemporary Music Ensemble post-WWI/pre-WWII (1923–1942), incorporating 2 credits, 3 hours lab unconventional instruments such as jugs, Repertoire composed and performed exclusively by washboards, harmonicas and kazoos, along ensemble students, incorporating twentieth century with conventional instruments, including in composition techniques. Prerequisites: HAR390C or particular, guitar and harmonica. concurrent enrollment.

PRF383 PRF391 Appalachian Old-Time Ensemble Electronic Music Ensemble 2 credits, 2 hours lecture 2 credits, 2 hours lab Repertoire of North American traditional music An ensemble utilizing electronic and/or electro-acoustic specific to the Appalachian region of the US in instruments. Covers applied synthesis and signal a string band setting of fiddle, banjo, guitar, processing techniques, collaborative electro- acoustic mandolin and bass. improvisation, scoring techniques for unconventional instruments, and utilizing software and/or hardware PRF384 instruments in live performance. Prerequisites: Celtic Ensemble (New) Access to any electronic or electro-acoustic 2 credits, 2 hours lecture instrument(s) such as a guitar and pedal board, Repertoire of instrumental and vocal music of the keyboard synthesizer, desktop or modular synthe- Celtic nations (Ireland, Scotland, Wales, Brittany, sizer, drum machine, sampler (e.g.: Roland 404), Cornwall, Galicia, and the Isle of Man), incorporat- vocal processing and looping (hardware and/or ing traditional Celtic instruments including Celtic software), iPad synthesizer apps, and a laptop with a harp, hammered dulcimer, Irish penny whistle and DAW or other sound producing software (e.g.: Max/ bodhran. MSP, PureData, SuperCollider, VCV rack, stand-alone softsynths). PRF480 New Acoustic/Progressive Bluegrass Ensemble 2 credits, 2 hours lecture A sequel to PRF380, repertoire of contemporary bluegrass composers including Gillian Welch, David Grisman, Ricky Skaggs and Darol Anger. Open to acoustic guitar, mandolin, fiddle, banjo, acoustic or electric bass, dobro and vocals.

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PRF111A and PRF111B VOCAL PERFORMANCE ENSEMBLES Vocal Jazz Ensemble 2 credits, 2 hours lab Vocal Performance Repertoire includes historic arrangements from groups including Lambert, Hendricks & Ross and the Singers Unlimited as well as original charts and PRF110A–210B arrangements. Emphasis on singing close harmony Vocal Performance parts, sight reading, intonation and creating a 3 credits, 3 hours lecture/lab stylistically relevant ensemble sound. Prerequisite: A four-semester course covering a range of styles PRF110B.3, audition or by consent of vocal chair. from the Great American Songbook to bebop, modal, world, contemporary popular, and free PRF312 music. Students compose original material, write Vocal and Guitar Duo lyrics and create their own arrangements. 2 credits, 2 hours lecture/lab Accompanied by a pianist and/or rhythm section, An ensemble for vocalists and guitarists. singers focus on interpretation, stage presence, improvisation, vocal technique, phrasing as well as cultivating a personal style. Students are MUSIC TECHNOLOGY expected to develop a repertoire of 80 songs over this four-year course. Open to vocalists TEC100 and instrumentalists. Prerequisites: MUS110A and THE100A or concurrent enrollment. Introduction to Music Technology 2 credits, 2 hours lecture/lab PRF215 An introduction to software tools available for Brazilian Jazz Bass and Voice Duets sequencing, sampling, scoring/music notation, simple recording and production. This course 2 credits, 2 hours lecture/lab elective also covers software and web-based services that An ensemble in duet format for bass and voice assist with developing skills in basic musicianship. focusing on iconic Brazilian jazz repertoire with Students must own or have access to a laptop lyrics in both English and Brazilian Portuguese. computer with Sibelius software (version 6 or Open to vocalists only. higher) installed for use in class. PRF219 TEC300 Vocal Intensive Building the Home Studio 2 credits, lecture/lab 2 credits, 2 hours lecture/lab A six-day workshop co-led by a select artist in AA course addressing all aspects relevant to residence and vocal program director. An explora- building a working home studio. Under the tion of technical and stylistic considerations guidance of a professional recording engineer, designed to forward personal artistic voice. topics include: digital audio workstation software Includes lectures, rehearsals, private instruction (DAW); principles of analog and digital audio; and a concert open to the public. Professional microphone technology and application; acoustics; accompaniment provided throughout. Maximum budgeting and buying guides; and, working enrollment: 10. Prerequisite: consent of vocal chair. remotely in the capacities as both performer and composer. Prerequisites: AUD300A or concurrent PRF310A enrollment; or, by consent of instructor. Advanced Vocal Performance 3 credits, 3 hours lecture/lab A continuation of PRF210B, focusing on students’ repertoire of choice. Prerequisites: PR210B or consent of vocal chair.

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AUDIO PRODUCTION AUD305B Mix II 3 credits, 3 hours lecture/lab Audio Series — Audio Engineering Advanced mixing techniques including parallel compression and automation. Covers big console AUD300A and analog/digital hybrid mixing that meet industry Digital Audio Workstation standards. Location: TBD. Lab Fee: $550. 3 credits, 3 hours lecture/lab Prerequisites: AUD305A An introduction to the Digital Audio Workstation (DAW), and Avid Pro Tools, the hardware and AUD400A software designed for the recording, editing and Studio Recording I playing of digital audio files. Prerequisites: 3 credits, 3 hours lecture/lab Students must own or have access to a laptop An introductory course on the fundamentals of computer with Pro Tools software (version 10 or studio recording. Includes microphone choice and higher) installed foruse in class. placement, console and studio signal flow, session setup and protocol, and live recording. Discussion AUD300B and utilization of limiters, compressors, and other Digital Audio Workstation II (DAWII) signal processing equipment used in the recording 2 credits, 2 hours lecture/lab process are part of in-class activities and recording A continuation of DAW I, this course delves further sessions. Students’ final project consists of engi- into editing and mixing capabilities of the Digital neering the Live-to-2-track project. Location: TBD. Audio workstation. Includes advanced editing Lab fee: $850. Prerequisites: AUD300A, AUD310B techniques and an introduction into mixing in “In-The-Box.” Prerequisites: AUD300A. AUD400B Studio Recording II AUD300C 3 credits, 3 hours lecture/lab Digital Audio Workstation A course focusing on the techniques and protocols 3 credits, 3 hours lecture/lab involved in multi-track recording projects. Includes An introduction to the Digital Audio Workstation analysis of advanced large-format console signal (DAW) and Apple Logic X, the hardware and flow and exploration of sophisticated ensemble software designed for the recording, editing and microphone techniques. Students engineer the playing of digital audio files. Prerequisites: Stu- final project for Music Production I (sound-a-like). dents must own or have access to a laptop Location: TBD. Lab Fee: $850. computer with Apple Logic X software Prerequisites: AUD305A, AUD300B, AUD401 (version 10.4 or higher) installed for use in class. AUD401B Post Production I AUD305A 2 credits, 2 hours lecture/lab Mix I An overview of the world of sound and music for 2 credits, 2 hours lecture/lab motion pictures, examining the different aspects An introduction to the process of mixing. Includes of post-production including ADR, sound design, mix setup and simple multi-track mixing as well as Foley and film scoring among others. the history, philosophy and theory behind mixing. Prerequisites: AUD300B Lab Fee: $600. Prerequisites: AUD300A; AUD310A

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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 of sale of music on the Internet. jazz and related styles of music open to the public. Students compose and/or arrange repertoire, BUS400A choose personnel, rehearse the band and market Marketing & Public Relations the concert. All Senior Projects are completed in 1 credit, 1 hour lecture conjunction with a faculty advisor. A one-semester course focusing on marketing and publicity practices critical to the success of the professional musician.

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.

52 — CJC student Simon Petty, reflecting on the jazz history course he took with Dr. Anthony Brown 53 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: 9 credits) broad-based cultural literacy, critical thinking and communication skills necessary to function Students are required to take a total of 9 credits successfully in the music world and beyond. Courses in English Communication: 3 credits of English in General Studies serve to broaden perspectives Composition and 3 credits of English Literature. and provide points of reference invaluable to the The following courses fulfill the CJC English jazz professional in a global 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: 9 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 The Biography and Autobiography California Jazz Conservatory. The CJC also accepts English Composition Requirement / Elective select General Studies requirements/electives from 3 credits, 3 hours lecture any fully accredited institution. Transfer credit A writing intensive that covers structure and fulfilling CJC General Studies requirements in function of the biography and autobiography English Communication (9 credits), Arts and as literary forms. Considerations include strategy, Humanities (6 credits) and Mathematics and research and documentation along with an Quantitative Reasoning (3 credits) is evaluated and examination of the structure and conventions accepted on a case-by-case basis. Please note: the of writing “a life.” Using key biographies and Social Sciences General Studies requirement is not autobiographies of jazz musicians as models, transferable from another institution. This require- students write a biography of a jazz musician ment must be fulfilled at the CJC. of their choosing or their autobiography.

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

52 53 COURSE DESCRIPTIONS

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 and the rhetoric of argument. Topics include: Aristotle’s blues, and continuing through the Harlem Renais- description of the various means of persuasion in sance, pre- and post- World War II, bebop and the The Art of Rhetoric; famous political speeches Beats, modern and postmodern, and the “NOW,” jazz that deploy rhetorical strategies; analyses of music poetry has rhythmic and lyrical styles nurtured by the that makes a social commentary; how to write music and its players. This extensive range of poetic skillful program notes to accompany a piece of and jazz aesthetics is studied through the voices of music in performance; how to critique a piece Bessie Smith, Willie Dixon, Langston Hughes, Jack of music; and how to write autobiographically in Kerouac, Michael McClure, Al Young, Michael S. a way that represents students’ personal skills Harper, Jayne Cortez, Ishmael Reed, Billy Collins, and achievements both positively and accurately. Quincy Troupe and others. In depth readings and analysis, as well as historical and musical context are emphasized and explored.

On Acts of Rhetorical ENG110 Persuasion — Introduction to Shakespeare: A note from Dr. Philippa Kelly, From Plays to Works Chair, English Department English Literature Requirement / Elective 3 credits, 3 hours lecture In ENG103, Practical Rhetoric, we learn A course examining three selected Shakespeare plays skills that are foundational to every and poetry such as Twelfth Night, Othello, the Sonnets, musician’s professional life: the skills and King Lear with an emphasis on historical context involved in grant-writing (essential to from the Renaissance to the present. The shift from artists); how to write a resume; a letter Shakespeare’s theatre as raw commercial entertainment of introduction; a biographical note to to its status today as preeminent drama is analogous accompany a performance (both short to the evolution of jazz as early twentieth century and long); an on-line entry for musical entertainment found in brothels, bars and dance halls, magazines; a persuasive letter of applica- to its status today as a serious art form. Working in tion; how to rhetorically craft letters of seminar format, students consider problems of poetry, rejection so as to convey the message character and performance and attend a live perfor- (“no”) with respect for the recipient; even mance of one of the plays, schedule permitting. how to write a dating profile that attracts the kind of person we would want to PUBLIC SPEAKING meet! We also learn to professionally review a performance, to write character ENG200 references — in short, we learn that all Public Speaking for the Professional Musician communications of this kind are acts of English Communications Requirement rhetorical persuasion, involving skills and 3 credits, 3 hours lecture tools (rooted in pathos, ethos and logos) A practical course preparing the professional musician that are surprisingly easy to acquire, vital for oral presentation in a public setting. Students learn to perfect, and of great use to every techniques for creating and delivering effective formal aspect of your professional lives. and informal speeches for the purpose of informing, instructing, entertaining and/or persuading. Methods of delivery include manuscript, memorized, extempo- raneous and impromptu. Developing skills in public speaking also informs stage presence critical to success in live performance before an audience. 54 55 COURSE DESCRIPTIONS

AREA 2. ARTS AND HUMANITIES BERKELEY CITY COLLEGE COURSES (Requirement: 3 credits) The following suggested courses also fulfill the CJC English Composition General Studies require- Students are required to take 3 credits in the area of ment and have been approved for transfer from Arts and Humanities. The following courses fulfill Berkeley City College. Please note: Additional the CJC Arts and Humanities General Studies courses of interest may be approved on a case-by- requirements and are offered at the CJC: case basis. For Berkeley City College course descriptions and class schedules, please visit berkeleycitycollege.edu/wp/programs/ HUM305 class-schedules-and-catalogs/. Philosophy of Jazz Requirement/Elective ENGL 1A, 1B Composition and Reading 3 credits, 3 hours lecture (4 credits) What is the meaning of jazz? What is the purpose of ENGL 5 Critical Thinking in Reading and art? How do you form your artistic message within Writing (3 credits) the jazz idiom? Andy Hamilton’s “Aesthetics and Music” serves as a guide in addressing these ENGL 100 College Composition and Reading profound questions while reviewing the history of (3 credits) music aesthetics from Plato to Adorno. Topics covered include a history of the concept of music The following suggested courses also fulfill the and improvisation, and the relationship of jazz to CJC English Literature General Studies require- modernism and postmodern philosophy. Students ment and have been approved for transfer from question their own expectations regarding jazz, Berkeley City College. Please note: Additional including the relationship between art and com- courses of interest may be approved on a case- merce and personal motivations behind by-case basis. For Berkeley City College course their artistic pursuits. descriptions and class schedules, please visit berkeleycitycollege.edu/wp/programs/ HUM340 class-schedules-and-catalogs/. Brazilian Portuguese Requirement/Elective ENGL 50 Multicultural American Literature 3 credits, 3 hours lecture/lab (3 credits) An introduction to the Portuguese language specific ENGL 85A Literature in English through to the Brazilian vernacular. Emphasis on the four Milton basic communication skills: reading, writing, (4 credits) speaking and listening with particular attention ENGL 85B Literature in English: given to pronunciation. Late 17th through Mid 19th Century (4 credits) HISTORY 47 Critical Thinking in History (3 credits)

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

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) HIS100A HUMAN 21 Film: Art and Communication Jazz History — The Roots of Jazz (3 credits) and Early Jazz, Pre-1900 – 1919 3 credits, 3 hours lecture HUMAN 26 Global Cinema (4 credits) This course examines the influences of West HUMAN 30A, 30B Human Values/Ethics African, Caribbean, South American, Asian and (4 credits) European music and culture on the development HUMAN 40 Religions of the World of jazz pre-1900, and on the early music of New (3 credits) Orleans that became known to the world as jazz by 1917. The course focuses on the West HUMAN 46 Philosophy of the Human African conceptual approaches, practices, and Experience (3 credits) cultural conventions that form the foundation of PHIL 1 Introduction to Philosophy jazz, and its origins in spirituals, blues, ragtime and (3 credits) other African American sacred and secular music. PHIL 10 Logic (3 credits) The development of jazz is studied within the historical context of American social forces PHIL 46 Philosophy of the Human including post-bellum segregation, the industrial Experience (3 credits) boom and the Great Black Migration, World PORT 1A, 1B Elementary Portuguese War I, and the invention of the radio and sound (5 credits) recordings. SPAN 1A, 1B Elementary Spanish (5 credits) WS 35 Feminist Philosophy (3 credits)

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

he loudest noise in the universe T is silence. — Thelonious Monk

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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/. MAT200 Introduction to Statistics for BUS 10 Introduction to Business (3 credits) the Professional Musician BUS 20 General Accounting (3 credits) Mathematics and Quantitative Reasoning Requirement BUS 53 Small Business Management (3 credits) 3 credits, 3 hours lecture BUS 20 Business Mathematics (3 credits) Introduction to theory and practice of statistics: Collecting data: Sampling, observational and experimental studies. Organizing data: Univariate and bivariate tables and graphs, histograms. AREA 5. PHYSICAL SCIENCES Describing data: Measures of location, spread, and correlation. Theory: Probability, random variables; (Requirement: 3 credits) binomial and normal distributions. Drawing conclusions from data: Confidence intervals, Students are required to take 3 credits in the hypothesis testing, z-tests, t-tests, and chi-square area of Physical Sciences. SCI300 fulfills the CJC tests; one-way analysis of variance. Regression and Physical Sciences General Studies requirements nonparametric methods. and is offered at the CJC.

MAT300 SCI300 Business Mathematics for Physics of Sound and Music the Professional Musician 3 credits, 3 hours lecture/lab Elective An exploration of the mechanics and perception of 3 credits, 3 hours lecture music — from the energy that excites the vibrating A course designed to provide the aspiring profes- object and the space through which its waves sional musician with entrepreneurial skills critical propagate, to the human ear and brain that to a successful career in the music industry. Using experience it as music and reshape it through a systematic approach to learning, students gain design. Topics include: wave properties; sound an understanding of financial statement analysis, production and timbre; acoustics and psycho- costing projects and profitability, financial plan- acoustics; pitch, tuning and temperament; and ning, and tax implication. This course provides music technology. Through an understanding of students with a solid financial foundation appli- music from a scientific perspective, students work cable to a wide range of music industry-related toward expanding and building on their experi- ventures. ence and sensibilities as musicians. While incorpo- rating some basic mathematics, this course focuses primarily on a conceptual understanding of complex phenomena.

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