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General Catalog 2019–2020 / Edition 19 Academic Calendar 2019–2020
BERKELEY GENERAL CATALOG 2019–2020 / EDITION 19 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 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 .............................................................. -
The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
Graduate Theses, Dissertations, and Problem Reports 2019 The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett Curtis Goods West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Music Performance Commons Recommended Citation Goods, Emmett Curtis, "The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964)" (2019). Graduate Theses, Dissertations, and Problem Reports. 7464. https://researchrepository.wvu.edu/etd/7464 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H. -
The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas the the Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas the Dave Oliphant
Oliphant: The Wisconsin Texas Jazz Nexus The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas The The Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas The Dave Oliphant The institution of slavery had, of course, divided the nation, and Chicago. Texas blacks had earlier followed the cattle trails and on opposite sides in the Civil War were the states of Wis- north, but, in the 1920s, they also felt the magnetic pull of consin and Texas, both of which sent troops into the bloody, entertainment worlds in Kansas City and Chicago that catered decisive battle of Gettysburg. Little could the brave men of the to musicians who could perform the new music called jazz that Wisconsin 6th who defended or the determined Rebels of the had begun to crop up from New Jersey to Los Angeles, beholden Texas Regiments who assaulted Cemetery Ridge have suspected to but superseding the guitar-accompanied country blues and that, one day, musicians of their two states would join to pro- the repetitive piano rags. The first jazz recordings had begun to duce the harmonies of jazz that have depended so often on the appear in 1917, and, by 1923, classic jazz ensembles had begun blues form that was native to the Lone Star State yet was loved performing in Kansas City, Chicago, and New York, led by such and played by men from such Wisconsin towns and cities as seminal figures as Bennie Moten, King Oliver, Fletcher Jack Teagarden, courtesy of CLASSICS RECORDS. Teagarden, Jack Fox Lake, Madison, Milwaukee, Waukesha, Brillion, Monroe, Henderson, and Duke Ellington. -
Down Bea MUSIC '65 10Th YEARBOOK $1
down bea MUSIC '65 10th YEARBOOK $1 The Foundation Blues By Nat Hentoff Jazzmen As Critics By Leonard Feather The Academician Views De Jazz Musician ,By Malcolm E. Bessom The Jazz Musician Views The Academiciau By Marjorie Hyams Ericsson Jazz 1964: Good, Bad, Or Indifferent? Two Views Of The Year By Don DeMicheal And Tom Scanlan Articles by Stanley Dance, Vernon Duke, Don Heckman, George Hoefer, Dan Morgenstern, Pete Welding, and George Wiskirchen, C.S.C., Plus Many Other Features GUITARS Try a Harmony Soon ELECTRIC AT YOUR GUITARS gt AMPLIFIERS Favorite Music Dealer MANDOLINS BANJOS UKULELES Write for FREE full-color catalog •Address: Dept. 0Y5 Copyright 1964. The Harriony Co. Chicago 60632, U.S.A. introduces amajor current in Meateeee titiVe as COLTRANE presents SHEPP Highlighting a release of 12 distinguished new albums, is the brilliant debut A-68 J. J. JOHNSON - PROOF POSITIVE recording of ARCHIE SHEPP, who was discovered and introduced to us by A-69 YUSEF LATEEF LIVE AT PEP'S JOHN COLTRANE. We think you will agree that the young saxophonist's lucid A-70 MILT JACKSON - JAll 'N' SAMBA style and intuitive sense of interpretation will thrust him high on the list of A-71 ARCHIE SHEPP - FOUR FOR TRANE today's most influential jazz spokesmen. A-73 SHIRLEY SCOTT - EVERYBODY LOVES ALOVER A-74 JOHNNY HARTMAN - THE VOICE THAT IS As for COLTRANE himself, the 1964 Downbeat Poll's 1st place Tenor Man has A-75 OLIVER NELSON - MORE BLUES AND THE again produced a performance of unequalled distinction. ABSTRACT TRUTH Other 1st place winners represented by new Impulse albums are long-time favor- A-76 MORE OF THE GREAT LOREZ ALEXANDRIA ites J.J. -
“Big Chief” Moore, in New York a Few Weeks Earlier on January 16
WIND12413 ITF Douglas Yeo ITA.qxp_Layout 1 5/22/17 11:24 AM Page 1 July 2017/ Volume 45, Number 3 / $11.00 Denson Paul Pollard — Page 36 Douglas Yeo Depends on Yamaha “Yamaha trombones are the most flexible, finely engineered and well-made instruments INTERNATIONALINTERNATIONAL I have ever played. They allow my musical voice to be expressed beautifully every time I have a trombone in my hands.” Douglas Yeo Visit 4wrd.it/yeoITA2 for details World-renowned Bass Trombonist ASSOCIATION JOURNAL THETHE QUARTERLYQUARTERLY PUBLICATIONPUBLICATION OFOF THETHE ITAITA Take it, Big Chief! An Appreciation of Russell Moore Photo credit: Timothy Hutchens INTERNATIONAL TROMBONE ASSOCIATION JOURNAL The Quarterly Publication of the ITA Volume 45, Number 3 / July 2017 General News — Page 6 The International Trombone Association is Dedicated to the Artistic Advancement of Trombone Teaching, Performance, and Literature. Contents Features Take It, Big Chief: An Appreciation of Russell Moore ITA JOURNAL STAFF by Douglas Yeo .............................................................. 18 Managing Editor A Conversation with Denson Paul Pollard Diane Drexler by Douglas Yeo ................................................................ 36 3834 Margaret Street, Madison, WI 53714 USA / [email protected] Associate Editors Feature Stories – Bruce Gunia Departments [email protected] Announcements ...................................................................... 2 Jazz – Antonio Garcia President’s Column - Ben van Dijk .......................................... -
3/23/2018 Course Descriptions
Subject Catalog Long Title Descr Min Units ACCT 2000 Accounting Concepts for Nonbusiness Students Fall, Spring, Summer. Accounting concepts and 3.00 procedures and their contribution to administrative processes. Enterprise analysis, relevant data, its uses and limitations. Not applicable to preprofessional core requirements in the College of Business Administration. No credit allowed toward BSBA degree. Prerequisite: sophomore standing or consent of department. Approved for distance education. ACCT 2210 Accounting and Business Concepts I Fall, Spring, Summer. Concepts and issues of 3.00 organizational reporting are introduced within the context of financial and managerial accounting, systems, taxation and auditing, and are illustrated through the use of examples involving international and domestic businesses, non-profit and government organizations. The course is designed to enhance group dynamics, communications skills, use of electronic media and inquiries into ethics and values within the accounting environment. Prerequisite: sophomore standing or consent of the department. Approved for distance education. ACCT 2220 Accounting and Business Concepts II Fall, Spring, Summer. ACCT 2210 continued. 3.00 Prerequisite: ACCT 2210. Approved for distance education. ACCT 3210 Intermediate Financial Accounting I Fall, Spring. Development and application of financial 3.00 accounting concepts and generally accepted accounting principles. Preparation of financial statements and accounting for changes in accounting principles. Emphasis on valuation and cost allocation methods for assets and related effects on income statements. Prerequisite: admission to the accounting specialization or consent of department. ACCT 3310 Intermediate Managerial Accounting Cost concepts, analysis, and product/service costing 3.00 methods. Discussion of the information needs and corresponding analyses for the planning, decision- making, and performance evaluation functions of managers. -
11/16/2020 Latin Jazz Ensemble Program
One Hundred Eighty-Second Program of the 2020-21 Season _______________________ Latin Jazz Ensemble Wayne Wallace, Director Tom Walsh, Rehearsal Conductor Joe Galvin, Rhythm Section Coach _______________________ HUMBERTO RAMÍREZ (b.1963) To the King Soloists Sol Keim, Alto Saxophone Zach Hood, Trombone Homer Holt, Trumpet GEORGE GERSHWIN (1898-1937) Fascinating Rhythm Soloists Andrew Kreitner, Tenor Saxophone Logan Vanderlaan, Trombone Joe Boksa, Trumpet Alex Turner, Guitar Miles Damaso, Drums _________________ Musical Arts Center Monday Evening November Sixteenth Eight O’Clock Indiana University prohibits the unauthorized recording, publication, and streaming of live performances. Please silence all electronic devices. OSCAR HERNÁNDEZ (b.1954) Machito’s Blues Soloists Jake Newsome, Baritone Saxophone Bruno Gutierrez, Bass Homer Holt, Trumpet Haley Cowan, Conga, Garett Dwyer, Percussion ERNESTO “TITO” PUENTE (1923-2000) Picadillo Jam Soloists Sol Keim, Alto Saxophone Sebastian Roeder-Hensley, Guitar Bailey Cates, Trumpet Marco Giovannelli, Piano Garett Dwyer, Timbales CHRIS WASHBURNE (b.1963) Nuyorican Son Soloists Logan Vanderlaan, Trombone Andrew Kreitner, Tenor Saxophone Bailey Cates, Trumpet Alex Turner, Guitar Sebastian Roeder-Hensley, Guitar MICHAEL SPIRO (b.1952) WAYNE WALLACE (b.1952) La Propaganda de Hoy Soloists Henry Kline, Drums Haley Cowan, Conga Marco Giovannelli, Piano Nate Berry, Trombone Wayne Wallace is professor of practice in jazz studies and jazz trombone at the IU Jacobs School of Music. A seven-time Grammy nominee, he is one of the most respected exponents of African American Latin music in the world today. Wallace is known for his use of traditional forms and styles in combination with contemporary music and has earned wide critical acclaim, including placement in both the trombone and producer categories of the DownBeat Critics Poll. -
American Performer Jazz Bass® (019861Xxxx)
AMERICAN PERFORMER JAZZ BASS® (019861XXXX) 3 PARTS LAYOUT 4 5 2 24 25 26 1 6 7 8 5 20 21 22 23 19 20 21 23 5 9 10 11 12 13 10 11 12 13 14 11 15 16 17 18 24 25 26 COPYRIGHT - 2019 - FENDER MUSICAL INSTRUMENTS CORPORATION Page 1 of 6 Jun 20, 2019 - PR5241 - Rev. A AMERICAN PERFORMER JAZZ BASS® (019861XXXX) PARTS LIST REF# DESCRIPTION PART NUMBER 1 BODY AM SPECIAL JAZZ BASS GLOSS 3TS 7714140500 1 BODY AM SPECIAL JAZZ BASS GLOSS AWT 7714140580 1 BODY AM SPECIAL JAZZ BASS GLOSS PNY 7714140584 1 BODY AM SPECIAL JAZZ BASS SATIN SFG 7714141557 2 NECK ASSY AM PERFORMER J-BASS MPL 7713214000 2 NECK ASSY AM PERFORMER J-BASS RW 7713195000 3 KEY BASS DLX NEW MOD TAPER LONG SET 0992006000 4 STRING GUIDE BASS BARREL NI 0013235000 5 SCREW SMAB 4 X 1/2 OHP NI 0015578049 6 PLATE NECK STD SERIES LOGO NO TILT 0048691000 7 SCREW SMA 8 X 1-3/4 OHP NI 0015636049 8 PICKGUARD AM STD JAZZ BASS B/W/B 0063307000 9 PLATE CONTROL JAZZ BASS CHROME ALUM 0992057100 10 KNOB 2 LARGE 1 SMALL SKIRTED BLACK 0991370000 11 HEX NUT 3/8-32 X 3/32 TK NI 0016352049 12 WASHER LOCK INTL 3/8 X .687 0016436049 13 CONTROL 250K 10% AUDIO METAL 0990831000 14 PCB ASSY GREASE BUCKET TONE CIRCUIT 7713546000 15 JACK PHONE1/4 OUTPUT 0047329049 16 WASHER FLAT 3/8 X .614 NI 0031153049 17 BRIDGE ASSY AM PERFORMER BASS 7713210000 17A BRIDGE PLATE JAZZ BASS 0010538070 17B BRIDGE SADDLE AM SRS BASS 1-2 BARREL NI 0075127000 17C BRIDGE SADDLE AM SRS BASS 3-4 BARREL NI 0075135000 17D SCREW M 6-32 X 1-1/2 RHP NI 0015842049 17E SPRING COMPRESSION 1-1/16 #144 0018689049 17F SPRING COMPRESSION 1-3/8 x 0.15 NI 0099135000 17G SCREW SET 6-32 X 7/16 HEX SKT BLX NYLOK 0075354000 18 SCREW SMAB 5 X 1 OHP NI 0015610049 19 PICKUP ASSY AM PERFORMER J-BASS BRIDGE 7713562000 20 SCREW WD 4 X 1-1/4 RHP NI 0027035049 21 SHIELD PICKUP NECK JAZZ BASS 62 6-1/2 WIRE 0061289000 22 PICKUP ASSY AM PERFORMER J-BASS NECK 7713561000 23 PICKUP COVERS SET 0992038000 *= NOT PICTURED IN DIAGRAM COPYRIGHT - 2019 - FENDER MUSICAL INSTRUMENTS CORPORATION Page 2 of 6 Jun 20, 2019 - PR5241 - Rev. -
Trombone People Loved It, Because We Were Picking up the Beat' Trombonists in Every Era and Genre - Performers Who (Rogovoy 2001)
Trombone people loved it, because we were picking up the beat' trombonists in every era and genre - performers who (Rogovoy 2001). Players such as the Dirty Dozen Brass have cumulatively expanded the possibilities for trom- Band's Kirk Joseph have amplified the sousaphone to bone range, sound quality capabilities and performance emulate many characteristics of the electric bass guitar. speed in ways completely unanticipated and unimagin- able in European art music. It is here, in the popular Bibliography sphere, that the trombone has made its most expressive Bevan, Clifford. 1978, The Tuba Family. London; Faber impact as an instrument with unique vocal and emo- and Faber, tional qualities. Rogovoy, Seth, 2001, 'Dirty Dozen Updates New Orleans The 'tailgate' trombone style, critical to the sound of Street-Band Music' Berkshire Eagle (30 November), Dixieland collective improvisation, was developed sub- http;//www.rogovoy,com/150.shtml stantially in the second and third decades of the twenti- Schafer, William J. 1977. Brass Bands and New Orleans eth century by Edward 'Kid' Ovf and Jim Robinson. Jack Jazz. Baton Rouge, LA; Louisiana State University Teagarden, Jimmy Harrison, Vic Dickenson, Benny Press, Morton and Dicky Wells extended the melodic and rhythmic capabilities of the trombone in the 1920s and Discography 1930s in the transition to swing. Band leader trombon- Dirty Dozen Brass Band, The, My Feet Can't Fail Me Now. ists like Glenn Miller and Tommy Dorsey developed the Concord Jazz 43005. 1984: USA, trombone's role as a lyrical lead -
Breaking Sound Barriers: New Perspectives on Effective Big Band
australiaa n societ s y for mumsic education e Breaking sound barriers: i ncorporated new perspectives on effective big band development and rehearsal Jeremy Greig and Geoffrey Lowe Edith Cowan University Abstract Jazz big band is a common extra-curricular musical activity in Western Australian secondary schools. Jazz big band offers important fundamentals that can help expand a student’s musical understanding. However, the teaching of conventions associated with big band jazz has often been haphazard and can be daunting and frightening, especially for classically trained music teachers. In order to maximise results within extra-curricular rehearsal time constraints, this article synthesizes current literature into big band development from Australia and overseas, designed to ensure positive outcomes, especially for teachers with little or no jazz background. In order to ‘break sound barriers’, it is important to consider the pre-rehearsal preparation, as well as the face to face rehearsal and performance situation. The article contextualises jazz education and attendant issues in secondary schools in Western Australia before outlining current literature into strategies designed to maximise rehearsal efficiency prior to, during rehearsals and after performances. It then presents a model, based around the fundamentals of set-up, instrument roles, sound and repertoire, designed to build a motivated and musically competent jazz big band. By summarising the literature, the article ultimately aims to equip directors with the knowledge to maximise the potential of jazz big bands in secondary schools throughout Australia. Key words: Jazz education, big band instrumentation and roles, big band repertoire, big band ensemble development model Australian Journal of Music Education 2014:1, 52-65 Background While organisations such as the Australian Jazz Education Association (AJEA) have published Many Western Australian (WA) secondary schools articles on jazz big band roles (AJEA, 2013), this run jazz big bands (SIM, 2012). -
Road Worn '60S Jazz Bass®
ROAD WORN ROAD WORn ‘60s Jazz Bass® ghts reserved. and the distinctive headstock body designs of this guitar are trademarks Fender Musical Instruments Corporation. All ri ® Part Number Description UPC MSRP P Bass ® NEW! Rosewood fretboard, 3-Color Sunburst, 4-Ply 013-1810-300 717669729318 Brown Shell Pickguard Precision Bass NEW! Rosewood fretboard, Fiesta Red, 4-Ply Brown ® 013-1810-340 717669761790 Shell Pickguard ROAD WORn ‘60s Jazz Bass®: Like classic cars or your favorite T-shirt, some things just get cooler with age. It’s especially true of electric basses-they develop an unmistakable mojo over © 2008 FMIC. Fender time that only makes ‘em look even cooler and feel even more comfortable than when they were brand new. That said, Fender’s new Road Worn ‘60s Jazz Bass guitar was designed with 1960s specs and a nitrocellulose finish to deliver that killer aged look, feel and mojo without breaking the bank. A true 340 (Fiesta Red) player. 300 (3- Color Sunburst) www.fender.com Prices and specifications subject to change without notice. Fender® Electric Basses ROAD WORN ROAD WORN 60S JAZZ BASS® COLORS: (00) (40) Fiesta Red ghts reserved. 3- Color Sunburst SPECIFICATIONS: Body Alder Finish Lacquer 40 (Fiesta Red) Neck Maple Fingerboard Rosewood 7.25” (184mm) Frets 20, Vintage Scale Length 34” (864 mm) Nut Width: 1.500” (38mm) Hardware Nickel/Chrome Tuning Keys Vintage Style Reverse Tuning Machines Bridge American Vintage Jazz Bass Pickguard 4 Ply Brown Shell and the distinctive headstock body designs of this guitar are trademarks Fender Musical Instruments Corporation. All ri ® Pickups Rhythm: Standard Vintage Alnico Magnet Jazz Bass Single P Bass Coil Pickup ® Lead: Standard Vintage Alnico Magnet Jazz Bass Single Coil Pickup Precision Bass ® Pickup Switching None Controls Volume 1, Volume 2, Tone © 2008 FMIC. -
The Influence of Jazz on Timbre in Selected Compositions for Solo Trombone
THE INFLUENCE OF JAZZ ON TIMBRE IN SELECTED COMPOSITIONS FOR SOLO TROMBONE Daniel J. Aldag, B.A., M.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2002 APPROVED: Vern Kagarice, Major Professor Joseph Klein, Minor Professor Tony Baker, Committee Member John Scott, Chair of the DMA Committee James C. Scott, Dean of the College of Music i Aldag, Daniel J., The Influence Of Jazz On Timbre In Selected Compositions For Solo Trombone. Doctor of Musical Arts (Performance), December 2002, 40 pp., bibliography, 66 titles. A significant body of solo literature for the trombone has been written in the last fifty years that draws as much from the jazz tradition as from that of European classical music. While much attention has been paid to these works’ use of characteristic jazz rhythms, harmonies and melodic inflections, there has been little focus on timbre, the musical element that perhaps most readily distinguishes jazz from other styles of Western music. This paper focuses on the important role jazz timbres should play in a performer’s interpretation of those works that are significantly influenced by jazz. It includes explorations of the significant differences in concepts of timbre between European classical music and jazz, some of the ways in which these timbral differences are produced, and methods by which performers can develop the skills necessary to produce these varied timbres. Particular attention is paid to the importance of timbre to idiomatically appropriate performances of two significant works from the solo trombone repertoire, Robert Suderburg’s Night Set (Chamber Music III) and Richard Peaslee’s Arrows of Time.