GENERAL CATALOG 2017–2018 / EdiTi on 17

100% Jazz

100% Accredited

100% Independent CONTENTS

Message from the President ...... 1 About the CJC Academic Calendar ...... 2 Vision, Mission, Goals & Objectives ...... 52 History and Program ...... 3 State Licensure ...... 54 Accreditation ...... 54 Degree PROGRAMS Questions or Complaints ...... 54 Facilities and Student Services ...... 54 The Bachelor of Music Degree in Jazz Studies Library ...... 54 Curriculum Requirements ...... 4 Record-Keeping ...... 55 Areas of Concentration ...... 4 Berkeley City College ...... 55 Residency Requirements ...... 5 Juries and Senior Project ...... 5 General Information Performance ...... 5 Admission Requirements ...... 56 Core Courses: Instrumental Track ...... 6 .Auditions ...... 56 Core Courses: Vocal Track ...... 6 .Placement Examinations ...... 56 Elective Courses ...... 6 .Tuition and Supplemental Fees ...... 56 General Studies Courses ...... 6 Private Instruction ...... 59 Independent Study ...... 7 Scholarships ...... 59 Keyboard Proficiency ...... 7 Work Study ...... 59 Workshops and Master Classes ...... 7 Code of Academic Integrity ...... 59 Curriculum Requirements Templates ...... 34–37 Code of Conduct ...... 59 Guide to Course Titles ...... 39–41 Academic Standing ...... 60 Academic Probation, The Associate of Arts Degree in Jazz Studies Suspension and Dismissal ...... 60 Curriculum Requirements ...... 7 Housing ...... 60 Residency Requirements ...... 7 International Students ...... 60 Juries ...... 7 Performance ...... 8 Financial Aid ...... 61 Core Courses: Instrumental Track ...... 8 Core Courses: Vocal Track ...... 8 Policies Elective Courses ...... 8 Student Enrollment Agreement ...... 68 General Studies Courses ...... 8 Cancellations, Withdrawals and Refunds ...... 68 Keyboard Proficiency ...... 8 Leaves of Absence ...... 68 Workshops and Master Classes ...... 8 Attendance ...... 68 Curriculum Requirements Template ...... 38 Grading and Academic Penalties ...... 69 Guide to Course Titles ...... 39–41 Adding, Dropping and Withdrawing from Courses ...... 69 Course Descriptions Challenge Examinations ...... 69 Course Numbering ...... 9 Credit for Prior Experiential Learning . . . . . 69 Musicianship ...... 9 Credit Hour Policies ...... 70 Theory ...... 12 Transfer Credit ...... 70 Harmony ...... 13 Notice Regarding Transferability Composition ...... 14 of Credits ...... 71 History ...... 15 Faculty Advisors ...... 71 Private Instruction ...... 19 Student Grievances ...... 71 Instrumental Performance Ensembles ...... 19 Student Right To Privacy ...... 71 Vocal Performance ...... 24 Injury Prevention ...... 71 Music Technology ...... 24 Audio Production ...... 24 Program & Administrative Staff ...... 72 Business of Music ...... 27 Board of Directors ...... 72 Senior Project ...... 27 Advisory Board ...... 73 Department of General Studies ...... 28 Application for Admission ...... 74 Faculty ...... 42 Directions to the CJC ...... 76 A WARM Welcome to the California Jazz Conservatory!

On behalf of the California Jazz Conservatory, I want to extend a very warm welcome to you from our family of faculty, students and staff.

In choosing the California Jazz Conservatory, you have selected the only music conservatory in America that is fully accredited, completely independent and totally devoted to jazz.

In choosing the California Jazz Conservatory, you have elected to study with faculty members who are leaders in the field of jazz and, more importantly, leaders in the world of jazz education.

In choosing the California Jazz Conservatory, you have demonstrated your commitment to jazz; in return, we offer our commitment to you, transforming you from being a jazz musician to becoming a jazz artist.

We are pleased to offer five pathways to that end, five distinctive programs of study for your education here at the California Jazz Conservatory:

• Bachelor of Music in Jazz Studies • Bachelor of Music in Jazz Studies / Brazilian Jazz Concentration • Bachelor of Music in Jazz Studies / Audio Production Concentration • Bachelor of Music in Jazz Studies / North American Roots Music Concentration • Associate of Arts in Jazz Studies

Each program offers you a solid foundation in jazz, while affording you the opportunity to concentrate on areas of expertise designed to enhance your professional standing.

This is a special year at the California Jazz Conservatory, a year in which we’ll be celebrating our 20th anniversary all year long.

With a new look and new programs, a new campus facility, new classrooms, new practice rooms, a new performance venue and a new jazz cafè, we look forward to your joining in the celebrations!

Thank you for choosing the California Jazz Conservatory and welcome to our family!

Yours in jazz,

Susan Muscarella

California Jazz Conservatory 2087 Addison Street • Berkeley, California 94704 phone: 510.845.5373 • fax: 510.841.5373 1 1 cjc.edu ACADEMIC CALENDAR 2017–2018

Spring Semester 2017

Auditions for Spring 2017 By Appointment Academic and Administrative Holiday Jan 16 First Day of Spring Instruction Jan 17 Last Day to Add / Drop a Class Jan 29 Academic and Administrative Holiday Feb 20 Spring Recess March 20 – March 26 Last Day of Instruction May 7 Final Examinations and Juries May 8 – 12 Commencement May 13 Fall 2018 Enrollment Deposit Due on or before June 1 Fall 2018 Registration July 31 – August 4

Fall Semester 2017

Auditions for Fall 2017 By Appointment New Student Orientation Aug 17 First Day of Fall Instruction Aug 21 Last Day to Add/Drop a Class Sept 3 Academic and Administrative Holiday Sept 4 Academic and Administrative Holiday Nov 20 – Nov 26 Spring 2018 Enrollment Deposit Due on or Before Dec 1 Last Day of Instruction Dec 10 Final Examinations and Juries Dec 11 – 17 Winter Recess Dec 18 – Jan 15, 2018 Spring 2018 Registration Jan 2 – 5, 2018

Spring Semester 2018

Auditions for Spring 2018 By Appointment Academic and Administrative Holiday Jan 15 First Day of Spring Instruction Jan 16 Last Day to Add / Drop a Class Jan 28 Academic and Administrative Holiday Feb 19 Spring Recess March 19 – March 25 Last Day of Instruction May 6 Final Examinations and Juries May 7 – 13 Commencement May 12 Fall 2018 Enrollment Deposit Due on or before June 1 Fall 2018 Registration July 30 – August 3

Please note: Edition 17.0 of the CJC 2017 – 2018 General Catalog covers the time period of July 1, 2017 – June 30, 2018. 2 the California Jazz Conservatory

HISTORY AND PROGRAMS

Founded in 2009, the California Jazz Conservatory The California Jazz Conservatory offers students: (CJC) is positioned as the only independent, • A synergistic, comprehensive jazz education accredited music conservatory in the country and performance program for today’s devoted solely to the study and performance of professional jazz instrumentalist and vocalist jazz and related styles of music. • Small classes taught by professional artists The CJC is located in the historic Kress Building on and experienced educators in the field of Addison Street in the heart of the Downtown jazz and related styles of music Berkeley Arts District. Part of the vibrant East Bay performing arts scene, the CJC is situated in close • Opportunities to study with preeminent proximity to the Berkeley Repertory and Aurora visiting artists and educators Theatres, The Freight & Salvage, the Berkeley Art Museum and Pacific Film Archive, and the world • Performance opportunities at prominent Bay class performing arts presenter Cal Performances Area venues; workshop opportunities with at the University of California, Berkeley. resident faculty and visiting artists • Opportunities to record, study and perform The CJC offers instrumentalists and vocalists a at the world-renowned recording facility 4-year Bachelor of Music degree in Jazz Studies Fantasy Studios with areas of concentration in Brazilian Jazz, Audio Production and North American Roots Music, and • Access to important networking opportunities a 2-year Associate of Arts degree in Jazz Studies. • Easy access to the San Francisco Bay Area’s The CJC holds its students accountable to the thriving arts scene via public transportation highest artistic, academic and ethical standards The California Jazz Conservatory is an Equal at all times. Students are evaluated on their Opportunity Employer. It does not discriminate performance in classes; juries; concerts; and in the admissions process or in the awarding Senior Project, a final project synthesizing their of financial aid on the basis of race, religion, artistic and academic work over the course of sexual orientation, gender identity, national their chosen program of study. origin, or disability.

3 THE BACHELOR OF MUSIC DEGREE IN JAZZ STUDIES

bachelor of music The concentration in Brazilian Jazz broadens Curriculum Requirements the scope of the Jazz Studies major, enabling students to: Instrumentalists — The CJC awards the Bachelor of Music degree in Jazz Studies to instrumental • Concentrate on a style of music they have students who satisfactorily complete 134 – 136 determined to be both personally fulfilling and credits of study divided among: a) core music critically relevant to their lives as aspiring courses / 89 credits (pianists) / 91 credits (non- professional musicians pianists); b) elective courses (15 credits); and c) general studies courses (30 credits). (See Curricu- • Learn from and play with a preeminent faculty lum Requirements Templates for more information.) of resident and visiting Brazilian jazz artists and educators Vocalists — The CJC awards the Bachelor of Music degree in Jazz Studies to vocal students who • Broaden their knowledge of Brazilian culture, satisfactorily complete 136 credits of study divided including gaining fluency in the Portuguese among: a) core courses (91 credits); b) elective (Brazilian) language courses (15 credits); and c) general studies courses (30 credits). (See Curriculum Requirements • Expand their range of employment opportuni- Templates for more information.) ties in the areas of performance and education upon graduation Areas of Concentration The California Jazz Conservatory offers areas of • Acquire specialized prerequisites needed for concentration (specialized plans of study) within pursuing a higher degree in Brazilian jazz or the Jazz Studies major in Brazilian Jazz, Audio in areas with relevance to Brazilian music Production and North American Roots Music. and culture Areas of concentration provide Jazz Studies majors with the opportunity to specialize in an area of • Expand their knowledge of art and culture particular interest to them. (See under Curriculum from a global perspective Requirements Templates.) • Audio Production • Brazilian Jazz With access to educational resources from one Available to both instrumentalists and vocalists, of the world’s foremost recording facilities, the concentration in Brazilian Jazz provides Fantasy Studios, located in Berkeley, California, students with the opportunity to gain a deeper the concentration in Audio Production is understanding of and appreciation for the music designed to provide instrumentalists with a and culture of Brazil — from its folkloric roots practical understanding of this far-reaching and to its intersection with modern jazz. exciting field.

With its infectious African-influenced rhythmic The concentration in Audio Production broadens underpinnings, rich European-derived harmonic the scope of the Jazz Studies major, enabling and melodic language and exhilarating American students to: jazz-based element of improvisation, Brazilian jazz ranks as one of the most sought-after styles • Concentrate on an area they have determined of music in the world today. to be both personally fulfilling and critically relevant to their lives as aspiring professional musicians

• Learn from a faculty equipped with decades of real world experience in audio production

4 BACHELOR OF MUS IC DEGREE PROGRAM

• Gain expertise in both technical and music- Residency Requirements related fields, expanding their employment All instrumentalists and vocalists are required to options complete a minimum of 34 credits in residence during their junior and/or senior year at the CJC. • Gain invaluable hands-on experience in recording and production in world class Juries Fantasy Studios Students are required to take four juries over the course of their studies at the CJC as they move • Prepare for a higher degree in Recording Arts from one class level — e.g. Freshman or Sophomore and Sciences — to the next. The purpose of these juries is to evaluate students’ progress in private instruction, • North American Roots Music and to confirm their mastery of the material covered The concentration in North American Roots in the CJC’s core Jazz Theory and Improvisation Music (also referred to as North American and Ear Training and Sight Singing curriculum. “traditional music”) examines the stylistic development and cultural origins of our North The timing of juries correlates with class level. American folkloric music — from nineteenth Students must take a jury when advancing in class century work songs and spirituals to the present. level to continue their studies at the CJC. Class level is determined by the total number of credits The concentration in North American Roots earned towards their degree: students who have Music broadens the scope of the Jazz Studies earned between 0 and 34 credits are considered major by enabling students to: Freshmen, and so on as shown below.

• Concentrate on a style of music they have Credits completed Class Level determined to be both personally fulfilling and critically relevant to their lives as professional 0 – 34 Freshman musicians 35 – 68 Sophomore 69 – 102 Junior • Learn from and play with a preeminent faculty 103 + Senior of resident and visiting traditional music artists and educators Senior Project • Broaden their knowledge of North Graduating seniors must complete a Senior Project American culture comprising a performance of original compositions and/or arrangements in a full length concert open • Expand employment opportunities in the areas to the public. of performance and education upon graduation Performance • Acquire the prerequisites they need to pursue The Jazz Studies undergraduate degree program a higher degree in North American roots music has performance at its center. or areas with relevance to North American roots music Instrumentalists are required to take a total of 20 credits of performance ensembles including • Broaden their knowledge of music and culture jazz (10), Afro-Caribbean (2), Brazilian (2) and on an international scale based on the pro- elective (6). Instrumentalists may also use found influence that the music and culture of 4 elective credits toward performance ensembles. other countries have had on the development (See Instrumental and Vocal Curricula.) of North American Roots Music

5 BACHELOR OF MUS IC DEGREE PROGRAM

Vocalists are required to take a total of 28 credits Core Music Courses: Vocal Track of performance courses in both solo and ensem- Vocalists are required to take 91 credits of the ble formats. Repertoire covers a wide range of following Core Music Courses: 28 credits of stylisti- styles from the Great American Songbook to cally varying performance ensembles over eight contemporary jazz, world and popular music. semesters including: Vocal Performance (24 credits); Vocalists may also use 4 elective credits toward and Vocal Jazz Ensemble (4 credits). Note: performance ensembles. (See Instrumental and 4 additional performance credits may be taken Vocal Curricula.) as elective courses. Additional required courses include: Ear training and Sight-singing (12 credits); Public performance is an integral component of Keyboard Proficiency (2 credits); Jazz Theory students’ tenure at the CJC. Students perform and Improvisation (12 credits); Jazz Composition for the public a minimum of twice per year. (3 credits); The Great American Songbook Performances include concerts at the CJC, (2 credits); Lyric Writing (2 credits); Western dates at clubs throughout the Bay Area, and European Harmonic Practice (6 credits); Western appearances at specially scheduled events. European Music History (6 credits); Music Technol- ogy (5 credits); Business of Music (4 credits); Private Additionally, students may attend over one Instruction (8 credits); and Senior Project (1 credit). hundred concerts scheduled at the CJC throughout the year free of charge. The CJC Concert Series Electives features a range of local, national and international All students are required to complete 15 credits artists. Visiting artists of note have included the of elective courses in fulfillment of requirements Heath Brothers, Theo Bleckmann, Kenny Werner, for the Bachelor of Music degree. Students may Taylor Eigsti, Peter Erskine, Quartet San Francisco, transfer up to 5 degree-relevant elective credits Pete Escovedo, Paula West, John Zorn, Geoffrey from any accredited institution on a by-approval Keezer, Ambrose Akinmusire and many others. basis by the Dean of Instruction. Note: 4 elective credits may be taken as Independent Study; Core Music Courses: Instrumental Track 4 elective credits may be taken as Performance. Instrumentalists are required to take 91 (non- pianists) / 89 (pianists) credits of the following Core General Studies Courses Music Courses: 20 credits of stylistically varying A range of General Studies courses is offered at performance ensembles over eight semesters the CJC. The CJC also accepts select General including: Jazz Repertoire Ensemble (8 credits of Studies requirements/electives from any accredited PRF100-400 series); Latin American Ensemble institution. Tuition for General Studies courses at (2 credits of PRF030 series); Brazilian Jazz ensemble other institutions is additional. (2 credits of 040 series); Indian Ensemble (2 credits of 050 series); and ensembles of their choice All students are required to take 30 credits of General (6 credits). Note: 4 additional credits may be taken Studies courses. General Studies requirements as Elective courses. Additional required Core include: English Communication (6 credits); Social courses include: Ear Training and Sight-Singing Sciences (12 credits); Arts and Humanities (6 credits); (12 credits); Keyboard Proficiency (2 credits); Jazz Mathematics and Quantitative Reasoning (3 credits); Theory and Improvisation (15 credits); Form and and Physical Sciences (3 credits). (See Department Analysis of Jazz Standards (2 credits); Jazz Composi- of General Studies beginning on page 56.) tion (3 credits); Jazz Arranging (3 credits); Latin Please note: the Social Sciences and Physical American Roots of Jazz (2 credits); Jazz and Sciences General Studies requirements are not Cross-Cultural Practice (2 credits); Western European transferable from another institution. These Harmonic Practice (6 credits); Western European requirements must be fulfilled at the CJC. Music History (6 credits); Music Technology (5 credits); Business of Music (4 credits); Private Instruction (8 credits); and Senior Project (1 credit).

6 assocTHEiate ass of arts0 ciateDEGREE PROGRAM OF arts DEGREE IN JAZ Z STUDIES

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

7 ASSOCIATE OF ARTS DEGREE PROGRAM

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

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

8 COURSE DESCRIPTIONS 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 equivalent. No prior Mus101 stick technique required. Keyboard Proficiency — Piano for Non-Pianists Mus201 1 credit, 1 hour lecture/lab Keyboard Proficiency — Entry-level keyboard technique for non-pianists Jazz Piano for Non-Pianists covering scales, reading and playing basic 1 credit, 1 hour lecture/lab repertoire. Serves as prerequisite for Mus201. An introduction to jazz piano technique addressing voicings, voice leading, soloing and comping, as Mus102 applied to standard jazz repertoire. Useful for Individual Tutorial composing and arranging. 1 credit, 1 hour lecture/lab Prerequisites: MUS101 or consent of instructor. Individual supplemental instruction in a wide range of areas, including but not limited to a secondary Mus202 instrument, musicianship, theory, harmony, Sight Reading Workshop composition, arranging and history. Students 1 credit, 1 hour lab may take up to 4 elective credits of MUS102. A lab focusing on developing sight reading Please note: MUS102 may not substitute for skills relevant to the jazz music genre. Open a requirement. to instrumentalists and vocalists.

Mus103A, MUS103B, MUS203A and MUS203B Supplemental Musicianship Skills 1 credit, 2 hours lab A supplement to MUS100A–MUS200B, a course designed to strengthen musicianship skills. Suggested prerequisites: Concurrent enrollment in the corresponding musicianship class; highly recommended for drummers and vocalists.

9 COURSE DESCRIPTIONS

MUS204 MUS300A and MUS300B The Application of Eurhythmics Advanced Musicianship to Jazz Repertoire 3 credits, 3 hours lecture/lab 2 credits, 2 hours lecture/lab A continuation of MUS200B. Designed to further Interpreting distinct rhythmic and melodic aspects develop aural and visual perception of advanced of select repertoire through coordinated physical rhythmic, melodic and harmonic material. Includes movement and the voice. Instrumentalists and sight singing, sight reading, rhythm, interval and vocalists gain a deeper understanding of the chord recognition, and transcription. rhythmic and melodic underpinnings of significant Prerequisite: MUS200B. jazz and related repertoire to facilitate performance. Students are advised to wear comfortable clothing Mus308 to class. Drum Grooves and Solos in Odd Meters 2 credits, 2 hours lecture/lab Mus205 A class focusing on grooves and solos over odd Chart Reading Workshop for Drummers and mixed meters as applied to jazz and funk 3 credits, 3 hours lecture/lab genres. Students study approaches embodied A hands-on workshop for drummers designed to by groups including Dave Brubeck, Mahavishnu develop proficiency in sight reading and interpret- Orchestra, Dave Holland, Sting, Brad Mehldau ing standard lead sheets and drum charts for both and the Pat Metheny Group among others. large and small ensemble. Students work with pre-recorded jazz, funk, Latin, pop, rock, fusion Mus309 and show arrangements. Covers articulations, Fusion Drumming Styles and Techniques set-ups, fills, tempo modulation, negotiating stick 2 credits, 2 hours lecture/lab changes and utilizing the click track. Fusion drumming styles and techniques from the sixties to the present. Students learn the stylistic Mus207 and technical approaches utilized by fusion masters Double Bass Ensemble Workshop Tony Williams, Steve Gadd, Dave Garibaldi, 2 credits, 2 hours lecture/lab Bernard Purdie, Peter Erskine, Billy Cobham, Clyde A course designed to develop technical Stubblefield, Alex Acuna, Steve Smith among facility through select repertoire for double others who blended the power of rock, the bass ensemble. syncopation of funk and the finesse and technique of jazz into their respective personal styles. Mus208 Techniques include odd meters, linear drumming, Gypsy Jazz Guitar Styles and Techniques funk independence and the all-important ghost 2 credits, 2 hours lecture/lab notes. Analysis and practical application of the stylistic and technical aspects of gypsy jazz guitar style Mus110 from Django Reinhardt to the present. Vocal Technique for Instrumentalists An acoustic guitar (played with a pick) 1 credit, 1 hour lecture/lab is required. An introduction to vocal technique and song interpretation. Repertoire includes the MUS209A and MUS209B Great American Songbook and standard Practical Applications for the Rhythm Section and contemporary jazz. Covers basic stage 2 credits, 2 hours lecture/lab presence and microphone technique. A two-semester hands-on, interactive course for Instrumentalists may take up to 2 credits pianists, guitarists, bassists and drummers focusing of Vocal Technique for Instrumentalists. on rhythmic considerations relevant to the rhythm section. Course covers the role of the individual and the rhythm section as applied to jazz, Afro- Caribbean, South American and World music styles past and present.

10 COURSE DESCRIPTIONS

Mus150 Mus180 Introduction to North Indian Tabla Roots Guitar Styles and Techniques 2 credits, 2 hours lecture/lab for Non-Guitarists An introductory course focusing on proper 1 credit, 2 hours lab posture, tone production and hand and finger An entry-level course in the fundamentals of roots techniques required for the practice of Indian guitar styles and techniques for non-guitarists. percussion. Students learn the fundamentals of Note: This course is a requirement for non- North Indian rhythmic concepts through exercises guitarists enrolled in the concentration in North and classical compositions, and master complex American Roots Music. Indian rhythmic cycles through the recitation of Prerequisites: Students must have access to vocal percussion syllables. Soloing, arranging, and a guitar. compositional concepts are also applied to jazz and other styles of music. Open to instrumentalists Mus280 and vocalists. Traditional Fiddle Styles and Techniques Prerequisites: Students must own or rent tabla. 2 credits, 2 hours lecture/lab Tabla may be purchased or rented from the Ali Traditional fiddle styles and techniques, including Akbar College Store in Berkeley (aacmstore.org). old-time, Celtic, Cajun and bluegrass. Open to violin, viola, cello and bass. Mus130 Introduction to Afro-Latin Percussion MUS190A and mus190b Styles and Techniques Yoga for Musicians 2 credits, 3 hours lab 1 credit, 1 hour lab A hands-on introductory course focusing on Afro- A course for musicians to strengthen mind, body Latin percussion styles and techniques. Emphasis and spirit. Warm-ups, stretches and posture on rhythms specific to Afro-Latin music as applied exercises alleviate the aches and pains that can to congas, timbales, bongos, güiro, maracas, result from playing; breathing techniques increase chekere, and cajón, among other Afro-Latin lung capacity and reduce stress; and meditation percussion instruments. eases performance anxiety and promotes Prerequisites: the ability to read rhythmic notation. greater awareness of the moment.

Mus240 MUS191 Brazilian Jazz Guitar Styles and Techniques Alexander Technique 2 credits, 2 hours lecture/lab elective 2 credits, 2 hours lecture/lab The intersection of various styles of Brazilian music A hands-on introduction to the Alexander (samba, bossa nova, baião, frevo and choro among Technique, a method used by musicians worldwide others) with jazz and their application to the guitar. to prevent and resolve playing-related injuries, Open to all guitarists: acoustic and electric, nylon pain and/or stage fright. Inappropriate muscular and steel string, pick and fingerstyle. tension and unconscious habits of misuse can interfere with technical facility, sound quality, Mus250 freedom of expression and the joy of playing North Indian Music Fundamentals music. The Alexander Technique enables instru- Through Voice mentalists and vocalists to develop poise and 2 credits, 2 hours lecture/lab ease of movement in practice and performance. A general overview of the styles, forms and practices of the traditional North Indian vocal tradi- tion. Open to both vocalists and instrumentalists, this course includes participatory singing, familiar- ization with the Indian solfège system, exploration of the melodic concepts of raga, and the rhythmic concepts of tala. Prerequisites: Musicianship 100B.

11 COURSE DESCRIPTIONS

THEORY The300B Advanced Transcription and The100A, THE100B, THE200A and THE200B Analysis of the Jazz Masters Jazz Theory and Improvisation 3 credits, 3 hours lecture/lab 3 credits, 3 hours lecture/lab A continuation of THE300A Jazz Theory and A four-semester course covering jazz theory and Improvisation, focusing on transcription and improvisation techniques and styles based on the analysis of more challenging works by jazz masters. artistic practice of jazz masters, from the early twentieth century innovations of Louis Armstrong, The301 to the contemporary artistry of Herbie Hancock and Form and Analysis of Jazz Standards beyond. Students gain a solid understanding of jazz 2 credits, 2 hours lecture/lab theory and improvisation, from the fundamentals to A course in an ensemble format focusing on form chord/scale theory, soloing, reharmonization, and and analysis of jazz standards essential to the transcription and analysis. Theoretical concepts are professional musician. illustrated with select recordings of leading jazz artists Prerequisite: THE200B or concurrent enrollment. and applied to relevant exercises and repertoire in class. This course lays important groundwork critical The302 in the development of individual style. Polyrhythms and Odd Rhythm Groupings 2 credits, 2 hours lecture/lab The201 The nature and history of polyrhythms and odd rhythm groupings and their application to compo- Introduction to Jazz Transcription sition and improvisation. All instruments and voice. 1 credit, 1 hour lecture/lab Prerequisites: Mus100A and The100A An introduction to techniques for transcribing jazz melodies, rhythms, and chord progressions. THE205 Transcribing assignments increase in level of difficulty throughout the semester. This course Single Line Soloing for Instrumentalists 3 credits, 3 hours lecture/lab serves as an optional prerequisite for THE200B, A course for instrumentalists focusing on develop- which involves advanced level transcription. ing single line soloing techniques idiomatic to the bebop and post-bop traditions. Includes analysis The300A and performance of key transcriptions of bebop Advanced Jazz Theory and Improvisation and post-bop masters as well as in-class applica- 3 credits, 3 hours lecture/lab tion of the fundamental devices employed in An introduction to the harmonic and melodic modern jazz improvisation. approaches David Liebman innovated and expanded Prerequisites: MUS201 and THE100B. in his seminal book A Chromatic Approach to Jazz Harmony. Beginning with John Coltrane and the THE315A, 315B second Miles Davis quintet (who independently began Single Line Soloing for Vocalists developing an advanced jazz language of chromaticism 3 credits, 3 hours lecture/lab in the 1960s), this course addresses the work of David A course for vocalists (or instrumentalists who wish Liebman, along with Michael Brecker, Chick Corea and to participate as vocalists) focusing on developing others who later that decade moved it to a new level single line soloing techniques idiomatic to the of sophisticated control of consonance and dissonance bebop and post-bop traditions. Includes analysis that remains the gold standard for controlled harmonic and performance of key transcriptions of tension and release, most commonly known as ‘playing bebop and post-bop masters as well as in-class in and out of the changes.’ application of the fundamental devices Prerequisite: THE200B or consent of instructor. employed in modern jazz improvisation. Prerequisites: MUS201 and THE100B.

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The330 (thrice-repeated cadential phrases used to end Latin Jazz Theory and Improvisation a musical idea). Students learn traditional Indian 3 credits, 3 hours lecture/lab rhythmic compositions drawn from the repertoire Latin jazz theory and improvisation techniques and of classical Indian percussion instruments such styles based on the artistic practice of Latin jazz as tabla, mridangam, kanjira, ghatam, thavil, and masters, from the early twentieth century innova- morsing. Emphasis is placed on pointing out the tions of Arsenio Rodriguez to the contemporary cross-cultural applications of Indian rhythms to artistry of Eddie Palmieri and beyond. Students any instrument and any style of music, enriching gain an understanding of Latin jazz theory and students’ compositional and improvisational skills. improvisation, from the rhythmic fundamentals, including the function of clave, to chord/scale theory, soloing, reharmonization, and transcription HARMONY and analysis. Theoretical concepts are illustrated with select recordings of leading Latin jazz artists Har390A and applied to relevant exercises and repertoire Western European Harmonic in class. This course lays groundwork critical Practice from 1600 to 1820 in the development of individual style. 3 credits, 3 hours lecture Prerequisites: THE200B or concurrent enrollment. Focusing on compositions from the Baroque and Classical periods, this first-semester course covers The250 preparatory material for the study of harmony, Traditional North Indian Rhythmic figured bass, harmonization of melodies, voice Concepts for the Jazz Musician leading, cadences, theory of chord progression, 3 credits, 3 hours lecture/lab chord progressions in the diatonic major and An in-depth exploration of traditional rhythmic minor, chord inversions, and an introduction concepts from the North Indian system of classical to analysis. music. Through the medium of vocal percussion syllables known as bols, students are introduced Har390B to Indian rhythmic idioms such as tala (rhythmic Western European Harmonic cycles), layakari (rhythmic modulation), and tihai Practice from 1820 to the Present (thrice-repeated cadential phrases used to end 3 credits, 3 hours lecture a musical idea). Students learn traditional Indian Focusing on compositional styles of the Romantic rhythmic compositions drawn from the repertoire and Contemporary Periods, this second-semester of classical North Indian percussion instruments course covers formal analysis, advanced techniques such as tabla and pakhawaj. This class delves into related to sequences, mixture, Neapolitan chords, the history and theory of North Indian rhythm as augmented 6th chords, diatonic and chromatic well as its influence on jazz over the last 50 years. modulation, and twelve-tone techniques. Emphasis is placed on pointing out the cross- cultural applications of Indian rhythmic concepts Har390C to any instrument and any style of music, enriching 20th Century Harmony students’ compositional and improvisational skills. 3 credits, 3 hours lecture A course examining works by the major composers The251 of western art music from the beginning of the Traditional South Indian Rhythmic 20th century to today. Analysis of the theories Concepts for the Jazz Musician behind various post-tonal approaches. Coursework 3 credits, 3 hours lecture/lab focuses on short composition exercises utilizing An in-depth exploration of traditional rhythmic the various practices studied. Emphasis is on concepts from the South Indian system of classical integrating these tools into students’ own work. music. Through the medium of vocal percussion The final project is a short composition read by syllables known as solkattu, students are intro- a professional ensemble. duced to Indian rhythmic idioms such as tala Prerequisites: HAR390B. Concurrent enrollment (rhythmic cycles), nadai (odd subdivisions of the in PRF390 also recommended. beat), layakari (rhythmic modulation), and mora

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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 to five arranging projects. The final project is instrumentalists. an arrangement for five horns and rhythm section Prerequisites: Concurrent enrollment in PRF110A that is recorded. and PRF210A required. Com301B Com300 Jazz Arranging — Large Ensemble Jazz Composition 3 credits, 3 hours lecture/lab 3 credits, 3 hours lecture/lab A one-semester introductory course on basic jazz A concentrated writing course utilizing the arranging techniques for the large ensemble. compositional styles and techniques of the master Students review ranges and characteristics of composers as a point of departure in creating instruments, rules for notating rhythm, how to lay new work. Composers studied include Ellington, out a score, how to voice chorale-style chords, and Parker, Silver, Mingus, Monk, Coltrane, Hancock, how to harmonize a moving melodic line with five Henderson, Shorter, Brecker, Liebman, Grolnick, voices. Through analysis of works by the masters Pastorius, Towner and more. Melodic, harmonic from Duke Ellington to Maria Schneider, students and rhythmic techniques employed in the music of also explore different techniques for large scale Mozart, Beethoven, Brahms, Debussy and other development of form, chord voicings for more than relevant past masters are also examined and five horns and large ensemble texture and orches- applied to students’ work. tration techniques. Required text: Inside the Score, by Rayburn Wright. Students are assigned three COM400 arranging projects. All assignments must be Jazz Composition Seminar completed on a program such as Finale or 3 credits, 3 hours lecture/lab Sibelius. The final project is an arrangement A continuation of COM300. A seminar addressing for full big band. advanced composition techniques and their Prerequisite: Com301A or consent of instructor. practical application in performance. 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 History — Style and Culture Jazz History in America from 1920 – 1939 A four-semester course examining the musical and 3 credits, 3 hours lecture cultural development of jazz, from its antecedents A survey of early jazz styles from the Jazz Age of in the musical cultures of West Africa, Western the Prohibition era through the reign of the swing Europe and the New World, to the music that is bands and the jitterbug. The music of Louis performed internationally today. Through extensive Armstrong, Duke Ellington, Count Basie, Ella listening, reading and discussion, students gain a Fitzgerald and many others is studied within the solid understanding of jazz, a twentieth-century contexts of the post-World War I economic boom, urban dance music that has become globally the Great Depression, ballrooms and big bands, celebrated as a cultural art form embodying the rise of sound motion pictures, American the ideals of freedom and democracy. musical theater and the Great American Song- book, among other socioeconomic and cultural HIS100A – 200B fulfills the CJC Social Sciences touchstones. requirement. Please note: the Social Sciences Prerequisite: HIS100A. requirement is not transferable from another institution. This requirement must be fulfilled His200A at the CJC. Jazz History — Style and Culture in America from 1940 – 1959 His100A 3 credits, 3 hours lecture Jazz History — The Roots of Jazz This course explores jazz as an art form, with a and Early Jazz, Pre-1900 – 1919 focus on the musical innovations of modern jazz 3 credits, 3 hours lecture through the beginnings of free jazz. Styles This course examines the influences of West including bebop, hard bop, funk, Latin jazz, cool African, Caribbean, South American, Asian and jazz, and other styles created by Dizzy Gillespie, European music and culture on the development Thelonious Monk, Miles Davis, Max Roach, the of jazz pre-1900, and on the early music of New Modern Jazz Quartet, Art Blakey’s and Horace Orleans that became known to the world as jazz Silver’s Jazz Messengers, Ornette Coleman and by 1917. The course focuses on the West African many of their collaborators are examined, focusing conceptual approaches, practices, and cultural on instrumental grouping, structural, harmonic and conventions that form the foundation of jazz, and rhythmic creativity, and folk influences. Students its origins in spirituals, blues, ragtime and other draw connec­tions between the mid-century African American sacred and secular music. The impact of World War II, the Atomic Age and the development of jazz is studied within the historical Cold War, the hegemony of television, advertising, context of American social forces including the burgeoning Civil Rights Movement and other post-bellum segregation, the industrial boom and historical epochs upon the evolution of jazz. the Great Black Migration, World War I, and the Prerequisite: HIS100B. invention of the radio and sound recordings.

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His200B His110 Jazz History — Style and Culture The Great American Songbook: in America from 1960 – Present The Jazz Standard 3 credits, 3 hours lecture 2 credits, 2 hours lecture/lab This course surveys the range of idioms and An overview of the evolution of The Great Ameri- subgenres of post-Coltrane jazz, particularly the can Songbook — the canon comprising American evolution of free jazz with the AACM, the 1970s popular songs written originally for musical theatre New York Loft Scene, jazz in Europe, the music and and later film between 1920 –1950. Now the ideas of Wynton Marsalis juxtaposed with the elec- cornerstone of modern jazz, the repertoire of the tronic fusion music of Miles Davis and his collaborators, Great American Songbook arose during the decade Herbie Hancock, Weather Report, Chick Corea and of the Jazz Age, The Great Depression, WWII and others, and the return of jazz to its dance origins. the unprecedented economic growth that took The steady influx of global influences from place in 1950s America. This singular body of work traditional and contemporary musicians from Africa, manifested hope, built morale, eased social Asia, and the New World continues to infuse a barriers and reflected our country’s promise for the diverse range of compositional styles, forms and future. Students examine the lives and perform the instruments into the jazz world. work of the central composers of this period, Prerequisite: HIS200A. including Jerome Kern, Irving Berlin, George Gershwin, Cole Porter, Duke Ellington, Richard His261 Rogers and Harold Arlen among others. Note: This History of Funk course serves as a requirement for vocalists and is 3 credits, 2 hours lecture a highly recommended elective for instrumentalists. A course tracing the history of funk, the R&B-based Prerequisites: Concurrent enrollment in PRF110A genre that originated in the 1960s. Influencing a and PRF210A required. wide range of musics including gospel, rock, jazz, hip-hop, Afro-Caribbean and South American, funk His300 also reflected the radical social change of the 60s Jazz and Cross-Cultural Practice and 70s, including the struggles for Civil Rights, 2 credits, 2 hours lecture Black Power, Women’s Rights, Gay Rights and the A review of selected musical traditions of the emergence of alternative cultures. Artists and bands world and their cross-cultural and intercultural covered include Ray Charles, James Brown, Sly and application to jazz. the Family Stone, Ohio Players, Parliament Funk- adelic, Earth, Wind and Fire, Miles Davis, Weather His301 Report, and Herbie Hancock’s Headhunters as well New Orleans: The Birthplace of Jazz as Bay Area-based bands Tower of Power, Cold 2 credits, 2 hours lecture Blood, Azteca, Sons of Champlin, Pointer Sisters, A course tracing the musical influence of the Larry Graham and GCS, and George Duke. international port of New Orleans, the melting pot for music innovation and cultural exchange that is the wellspring of the American art form, jazz. Explores the African American experience of cultural resilience through dance, singing and drumming traditions that fused elements from various cultures with gospel, blues and the Latin tinge. Includes analysis of important recordings as well as in-class performance of traditional and modern New Orleans-style funeral marches, street parades, brass bands and other music employing improvisation, syncopation, call and response and friendly competition that continue to influence music throughout the world.

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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, His320 focusing in particular on the collaborative spirit Bowed String Players in Jazz inherent in jazz. Recordings include iconic Blue 2 credits, 2 hours lecture Note Records artists such as Art Blakey’s Jazz An in-depth study of influential bowed string Messengers “family tree,” Miles Davis’ small players in jazz from the late nineteenth century groups and more. Students apply concepts to the present. In a combined lecture and master characteristic of the hard bop style to in-class class format, students gain insight into the impor- performance of jazz repertoire. tant stylistic contributions bowed string players Prerequisites: MUS200B and THE200B or have made to the broader jazz art form. permission of instructor. Prerequisites: THE100A or equivalent.

His309 His330 Jazz Oral History Methodology Latin American Roots of Jazz 3 credits, 3 hours lecture/lab 2 credits, 2 hours lecture An introduction to jazz oral history methodology. A survey of the evolution and relevance of the Students learn research techniques in literature Afro-Latino roots of jazz. This course examines review focusing on biographies and autobiogra- the pan-American sociopolitical circumstances that phies; oral history methodologies including brought Afro-Latino music and jazz together as research, preparation, transcription and analysis of branches of the same tree. Emphasis is placed on interviews; and interview, audiovisual and archival the historical development of the especially influen- techniques and their application. In partnership tial music of Cuba, New York and Puerto Rico. with the Smithsonian Institution, students work Students listen to rare recordings from 1900 to the with and contribute to the collection of the present. Music is analyzed through lecture, listening Smithsonian Jazz Oral History Program at and discussion and broadens an understanding of the National Museum of American History. jazz from both stylistic and historical perspectives. Prerequisite: HIS100A or consent of instructor.

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His340 His387 Brazilian Roots of Jazz Protest Songs — From the African 2 credits, 2 hours lecture American Work Song to Women’s Rights A survey course tracing the Brazilian roots of 3 credits, 3 hours lecture jazz — from their mid-nineteenth century African An historical overview of protest songs, from the and European-influenced folkloric origins to the African American roots tradition (work songs, mid-twentieth century emergence of the samba- spirituals, field hollers, moans, ring shouts and derived bossa nova and beyond. plantation dances) through the Civil Rights, Anti-War, Free Speech and Women’s Rights His370 movements –– sacred and secular oral traditions The Beatles manifesting cultural resistance and a cri de coeur 3 credits, 3 hours lecture for freedom and equality. An examination of the life and work of the incomparable English rock and pop group The His390A Beatles, framing the group’s career in the context History of Western European Music of the vibrant social, cultural, and political climate from Antiquity to 1750 of the 1960s. Attention is given to the group’s 3 credits, 3 hours lecture impeccable song writing, their rapid rise to This course traces the development of Western fame, and their creative use of newly-available European art music from the 10th century through technology in the recording studio. the middle 18th century, focusing on the musical styles of the master composers of the Medieval, His385 Renaissance and Baroque periods. Emphasis on History of American Roots Music the socio-economic and political conditions that from 1900 – Present gave rise to them. 2 credits, 2 hours lecture A survey course on the history and cultural His390B significance of American acoustic music styles, History of Western European Music from traditional country, blues and bluegrass, to from 1750 to the Present singer-songwriter, and newgrass (progressive 3 credits, 3 hours lecture bluegrass), among other contemporary This course traces the development of Western acoustic sounds. European art music from the middle 18th century through the twentieth century and beyond, His386 focusing on the musical styles of the master The Blues: From Spirituals composers of the Classical, Romantic and to Ornette Coleman (New) Twentieth Century periods and beyond. 3 credits, 3 hours lecture Emphasis on the socio-economic and political A course focusing on the salience of the blues, conditions of each period. tracing its late nineteenth century origins in African-American spirituals, work songs and field His390C hollers to its ubiquitous role throughout the History of 20th Century Music historical continuum of jazz. 3 credits, 3 hours lecture A sequel to HIS390B, a course tracing the lives and music of seminal 20th century composers who abandoned the functional harmonic conven- tions of the past for uncharted territory: from the 12-tone serialism of Schoenberg to the minimalism of Glass. Composers examined include Debussy, Stravinsky, Bartók, Berg, Webern, Cage, Partch, Carter, Boulez, Takemitsu, Reich and Adams, among others. Emphasis on composers’ respective philosophical viewpoints within the wider historical context of the 20th century.

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private instruction Instrumental performance ENSEMBLES Prv100A, 100B, 200A, 200B, 300A, 300B, 400A and 400B Instrumental Private Instruction PRF 000 Series — Jazz Ensembles 1 credit, 1 hour lecture Eight semesters of private instruction for Prf100 – 400 instrumentalists, one hour per week with select Jazz Repertoire Ensemble faculty. The Private Instruction requirement may 2 credits, 3 hours lab include up to two semesters of instruction in Standard and contemporary jazz repertoire. Western European classical repertoire. Prf101 Prv110A, 110B, 210A, 210B, Horace Silver Ensemble 310A, 310B, 410A and 410B 2 credits, 3 hours lab Vocal Private Instruction The repertoire of Horace Silver. 1 credit, 1 hour lecture Eight semesters of private instruction for Prf201 vocalists, one hour per week with select faculty. Miles / Wayne Ensemble 2 credits, 3 hours lab The repertoire of Miles Davis and Wayne Shorter.

Prf203 Jazz Fusion Ensemble 2 credits, 3 hours lab Repertoire by composers in the jazz fusion tradition including Chick Corea, John McLaughlin, Jaco Pastorius and Jean-Luc Ponty among others.

Prf204 Gypsy Jazz Ensemble 2 credits, 3 hours lab Repertoire by composers in the gypsy jazz tradition including Django Reinhardt and Stephane Grappelli among others. Open to voice, violin, viola, cello, accordion, solo guitar, rhythm guitar and bass.

Prf205 Wes Montgomery Ensemble 2 credits, 3 hours lab The repertoire of Wes Montgomery. Open to guitar, piano, bass, drums, and saxophone.

Prf206 Guitar Ensemble 2 credits, 3 hours lab Jazz, Latin American and Western European repertoire arranged for 4 – 8 guitarists.

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Prf207 Prf306B Blues and R&B Ensemble Jazz Guitar Trio 2 credits, 3 hours lab 1 credit, 1 hour lab Repertoire of blues and R&B composers from Standard and contemporary jazz repertoire. Open the 1940s to the present. to two students and one faculty: one on guitar; one on bass; and one on drums. Note: The trio Prf301 ensemble rate applies to this course (see page 56). Odd Meter Ensemble 2 credits, 3 hours lab Prf306C Repertoire in odd meters by composers Jazz Organ Trio including John McLaughlin, George Duke, 1 credit, 1 hour lab Milton Nascimento, Nguyen Le, Airto Moreira, Standard and contemporary jazz repertoire. Open Esbjorn Svensson and Jeff Beck among others; to two students and one faculty: one on organ; also odd meter arrangements of jazz standards. one on bass; and one on drums. Note: The trio ensemble rate applies to this course (see page 56). Prf302 New Orleans Ensemble — Prf306D 1920s to the Present Jazz Horn Trio 2 credits, 3 hours lab 1 credit, 1 hour lab Repertoire of composers in the early New Orleans Standard and contemporary jazz repertoire. Open jazz tradition including Joe “King” Oliver, Louis to two students and one faculty: one on horn; Armstrong, and the Preservation Hall Jazz one on bass; and one on drums. Note: The trio Band along with current funk and brass bands ensemble rate applies to this course (see page 56). coming out of the “Crescent City” including Rebirth Brass Band, Trombone Shorty and the Prf307 Dirty Dozen Brass Band. Emphasis on learning Chick Corea Ensemble repertoire by ear. 2 credits, 3 hours lab The repertoire of Chick Corea. Prf303 Charles Mingus Ensemble Prf308 2 credits, 3 hours lab Improvised Music Ensemble The repertoire of Charles Mingus. 2 credits, 3 hours lab Repertoire of spontaneously composed music Prf304 in the jazz tradition. Art Blakey Ensemble 2 credits, 3 hours lab Prf309 The repertoire of Art Blakey. Percussion Ensemble 2 credits, 3 hours lab Prf305 Repertoire by noted composers; also features Jazz Orchestra students’ original work. 2 credits, 3 hours lab Prerequisite: Intermediate hand drum and stick Standard and contemporary big band literature. technique and the ability to read rhythmic notation.

Prf306A Prf403 Jazz Piano Trio Pat Metheny Ensemble 1 credit, 1 hour lab 2 credits, 3 hours lab Standard and contemporary jazz repertoire. Open The repertoire of Pat Metheny. to two students and one faculty: one on piano; one on bass; and one on drums. Note: The trio ensemble rate applies to this course (see page 56).

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Prf405 PRF 030 Series — Jazz Tentet Latin American Ensembles 2 credits, 3 hours lab Arrangements for tentet: 1 alto saxophone; 1 tenor Prf230 saxophone; 1 baritone saxophone; 2 trumpets; Latin Jazz Ensemble 1 trombone; piano; bass; drums; and guitar. 2 credits, 3 hours lab Repertoire of composers in the Latin jazz tradition Prf408 including Chucho Valdés, Rafael, René and Oscar Original Compositions Ensemble Hernandez, Pedro Flores, Tito Puente and John 2 credits, 3 hours lab Santos among others. Repertoire composed and performed exclusively by ensemble students. Prf231 Afro-Venezuelan Jazz Ensemble Prf409 2 credits, 3 hours lab Post-Bop Ensemble Repertoire of composers in the Afro-Venezuelan 2 credits, 3 hours lab jazz tradition including Aquiles Baez, Aldemaro The repertoire of composers in the post-bop Romero and Simón Díaz among others. tradition including John Coltrane, Miles Davis, Joe Henderson and Wayne Shorter, among others. Prf232 Eddie Palmieri Ensemble 2 credits, 3 hours lab The repertoire of Eddie Palmieri. PRF 020 Series — Strings Ensembles Prf336 Prf 120 – 420 Afro-Cuban Orchestra Jazz Strings Chamber Ensemble 2 credits, 3 hours lab 2 credits, 3 hours lab The repertoire of composers in the Afro-Cuban Repertoire of composers in the jazz strings tradition including Tito Puente, Francisco tradition including the Turtle Island Quartet, Aguabella, Eddie Palmieri, Machito and Tite Darol Anger, Jean-Luc Ponty, Edgar Meyer and Curet Alonso among others. Evan Price among others. Open to violinists, violists, cellists and double bassists. Prf338 Tangos, Choros and Frevos Prf321 2 credits, 3 hours lab Jazz String Quartet Repertoire of composers in the Latin American 2 credits, 3 hours lab tradition including Astor Piazzola, Egberto Repertoire of composers in the jazz string quartet Gismonti, Jose Maria de Abreu, Toninho Horta, tradition including Quartet San Francisco, the Edu Lobo and Steve Erquiaga among others. Turtle Island Quartet, Darol Ander, Jean-Luc Ponty, Diverse instrumentation welcome! Edgar Meyer and Evan Price among others. Open to 2 violinists, 1 violist and 1 cellist. Prf339 Astor Piazzolla Ensemble Prf326 2 credits, 3 hours lab Jazz String Trio The repertoire of Astor Piazzolla. Open to the 1 credit, 1 hour lab following instrumentation: bandoneon, accordion, Standard and contemporary jazz repertoire. Open harmonica or melodica, piano, double bass, drums, to two students and one faculty on violin, viola, percussion, electric guitar, violin (2), cello, flute, cello or double bass. Note: The trio ensemble and clarinet. rate applies to this course (see page 56).

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Prf346B PRF 040 Series — Brazilian Ensembles Brazilian Jazz Guitar Trio 1 credit, 1 hour lab Prf240 Repertoire of composers in the Brazilian jazz Brazilian Jazz Repertoire Ensemble tradition including Antônio Carlos Jobim, Toninho 2 credits, 3 hours lab Horta, Chico Pinheiro, Hermeto Pascual, Dori Repertoire of composers in the Brazilian jazz Caymmi and Marcos Silva among others. Open tradition including Antônio Carlos Jobim, to two students and one faculty: one on guitar; Toninho Horta, Chico Pinheiro, Hermeto Pascual, one on bass; and one on drums. Note: The trio Dori Caymmi and Marcos Silva among others. ensemble rate applies to this course (see page 56). Prf242 Choro Ensemble 2 credits, 3 hours lab PRF 050 Series — Indian Ensembles Repertoire by composers in the choro tradition including Pixinguinha, Jacob do Bandolim, Ernesto Prf250 Nazareth and Waldir Azevedo among others. Traditional North Indian Ensemble 2 credits, 3 hours lab Prf245 Repertoire in the North Indian music tradition Brazilian Rhythm Ensemble by composers including Ali Akbar Khan 3 credits, 3 hours lab and Alam Khan among others. Applied rhythms and percussion techniques from across Brazil focusing on the history and musical practice from three major cultural areas of Brazil: Rio de Janeiro; Salvador, Bahia; and the PRF 060 Series — Blues, R&B, Funk northeastern state of Pernambuco. and Reggae Ensembles

Prf246 Prf260 Brazilian Jazz Guitar Ensemble Blues and R&B Ensemble 2 credits, 3 hours lab 2 credits, 2 hours lab Brazilian jazz repertoire arranged for Repertoire in the blues and R&B tradition from 4 – 8 guitarists. the 1940s to the present.

Prf346A Prf261 Brazilian Jazz Piano Trio East Bay Funk Ensemble 1 credit, 1 hour lab 2 credits, 3 hours lab Repertoire of composers in the Brazilian jazz Repertoire of composers in the funk tradition tradition including Antônio Carlos Jobim, Toninho including Sly and the Family Stone, Cold Blood, Horta, Chico Pinheiro, Hermeto Pascual, Dori Tower of Power and The Headhunters among Caymmi and Marcos Silva among others. Open others. to two students and one faculty: one on piano; one on bass; and one on drums. Note: The trio ensemble rate applies to this course (see page 56).

22 COURSE DESCRIPTIONS

Prf262 Prf383 Ska and Reggae Ensemble Appalachian Old-Time Ensemble 2 credits, 3 hours lab 2 credits, 2 hours lecture Repertoire of composers in the Ska, Rocksteady, Repertoire of North American traditional music and Reggae tradition including the Skatalites, the specific to the Appalachian region of the US in Upsetters, Bob Marley and the Wailers, Sly and a string band setting of fiddle, banjo, guitar, Robbie, and Roots Radics among others. Open mandolin and bass. to all instrumentalists and vocalists. Prf384 Celtic Ensemble (New) 2 credits, 2 hours lecture PRF 070 Series — Pop Ensembles Repertoire of instrumental and vocal music of the Celtic nations (Ireland, Scotland, Wales, Brittany, Prf370 Cornwall, Galicia, and the Isle of Man), incorporat- Sting Ensemble ing traditional Celtic instruments including Celtic 2 credits, 2 hours lab harp, hammered dulcimer, Irish penny whistle and The repertoire of Sting from “The Police” bodhran. to the present. Prf480 New Acoustic/Progressive Bluegrass Ensemble PRF 080 Series — 2 credits, 2 hours lecture North American Roots Ensembles A sequel to PRF380, repertoire of contemporary bluegrass composers including Gillian Welch, Prf280 David Grisman, Ricky Skaggs and Darol Anger. Bluegrass Ensemble Open to acoustic guitar, mandolin, fiddle, banjo, 2 credits, 3 hours lab acoustic or electric bass, dobro and vocals. Repertoire of composers in the traditional and contemporary bluegrass tradition from Bill Monroe to Béla Fleck. Open to acoustic guitar, mandolin, fiddle, banjo, PRF 090 Series — acoustic or electric bass, dobro and vocals. Western European Ensembles

Prf381 Prf290 Louisiana Cajun and Zydeco Ensemble Saxophone Quartet 2 credits, 2 hours lecture 2 credits, 3 hours lab Repertoire of composers in the accordion-central Repertoire of composers from the Baroque to Cajun and zydeco traditions, originating from the bebop periods and beyond. Open to 1 soprano, French-speaking Cajun and Creole communities 1 alto, 1 tenor and 1 baritone saxophone. in Southwestern Louisiana. Prf390 Prf382 Contemporary Music Ensemble Early Blues/Jug Band 2 credits, 3 hours lab 2 credits, 3 hours lab Repertoire composed and performed exclusively Early American blues and roots repertoire by ensemble students, incorporating twentieth post-WWI/pre-WWII (1923–1942), incorporating century composition techniques. unconventional instruments such as jugs, Prerequisites: HAR390C or concurrent enrollment. washboards, harmonicas and kazoos, along with conventional instruments, including in particular, guitar and harmonica.

23 COURSE DESCRIPTIONS

Vocal Performance music technology

Prf110A–210B Tec100 Vocal Performance Introduction to Music Technology 3 credits, 3 hours lecture/lab 2 credits, 2 hours lecture/lab A four-semester course covering a range of styles An introduction to software tools available for from the Great American Songbook to bebop, sequencing, sampling, scoring/music notation, modal, world, contemporary popular, and free simple recording and production. This course music. Students compose original material, write also covers software and web-based services that lyrics and create their own arrangements. assist with developing skills in basic musicianship. Accompanied by a pianist and/or rhythm section, Students must own or have access to a laptop singers focus on interpretation, stage presence, computer with Sibelius software (version 6 or improvisation, vocal technique, phrasing as well higher) installed for use in class. as cultivating a personal style. Students are expected to develop a repertoire of 80 songs over this four-year course. Open to vocalists AUDIO PRODUCTION and instrumentalists. Prerequisites: MUS110A and THE100A or concurrent enrollment. Audio Series — Audio Engineering Prf310A Advanced Vocal Performance AUD300A 3 credits, 3 hours lecture/lab Digital Audio Workstation I (DAWI) A continuation of PRF210B, focusing on 3 credits, 3 hours lecture/lab students’ repertoire of choice. An introduction to the Digital Audio Workstation Prerequisites: PR210B or consent of Vocal Chair. (DAW), the hardware and software designed for the recording, editing and playing of digital audio Prf111A and prf111B files. Vocal Jazz Ensemble Prerequisites: Students must own or have access to 2 credits, 2 hours lab a laptop computer with Pro Tools software (version 9 Repertoire includes historic arrangements from or higher, or Pro Tools First) installed for use in class. groups including Lambert, Hendricks & Ross and the Singers Unlimited as well as original charts and AUD300B arrangements. Emphasis on singing close harmony Digital Audio Workstation II (DAWII) parts, sight reading, intonation and creating 2 credits, 2 hours lecture/lab a stylistically relevant ensemble sound. A continuation of DAW I, this course delves further Prerequisite: PRF110B.3, audition or by consent into editing and mixing capabilities of the Digital of vocal chair. Audio workstation. Includes advanced editing techniques and an introduction into mixing in “In-The-Box.” Prerequisites: AUD300A.

AUD300C Digital Audio Workstation III (DAWIII) 2 credits, 2 hours lecture/lab This course is an introduction into the digital music recording and production platform Logic. Location: Classroom. Prerequisites: AUD300A.

24 COURSE DESCRIPTIONS

AUD305A AUD401B Mix I Post Production I 2 credits, 2 hours lecture/lab 2 credits, 2 hours lecture/lab An introduction to the process of mixing. Includes An overview of the world of sound and music for mix setup and simple multi-track mixing as well as motion pictures, examining the different aspects the history, philosophy and theory behind mixing. of post-production including ADR, sound design, Lab Fees: TBA. Foley and film scoring among others. Prerequisites: AUD300A; AUD310A Prerequisites: AUD300B.

AUD305B Mix II Audio 010 Series — Studio Technology 3 credits, 3 hours lecture/lab Advanced mixing techniques including parallel AUD310A compression and automation. Covers big console Audio Technology I and analog/digital hybrid mixing that meet industry 2 credits, 2 hours lecture standards. Location: Fantasy Studios. Lab Fees: TBA. A course in the foundational principles of digital Prerequisites: AUD305A. and analog audio technology. Includes recording consoles (design, function, and signal flow), AUD400A principles of signal processing (reverberation, Studio Recording I delay, equalization, compression, and other 3 credits, 3 hours lecture/lab effects), and an introduction to microphone and An introductory course on the fundamentals of loudspeaker technology. studio recording. Includes microphone choice and placement, console and studio signal flow, session AUD310B setup and protocol, and live recording. Discussion Audio Technology II and utilization of limiters, compressors, and other 2 credits, 2 hours lecture signal processing equipment used in the recording A continuation of Audio Technology I, this course process are part of in-class activities and recording delves further into the technical aspects of the sessions. Students’ final project consists of engi- recording studio. Covers microphones, advanced neering the Live-to-2-track project. Location: studio and console signal flows and block diagrams, Fantasy Studios. Lab Fees: TBA. and synchronization and MIDI integration. Location: Prerequisites: AUD300A, AUD310B. Classroom and Fantasy Studio B. Lab Fees: TBA. Prerequisites: AUD300A; AUD310A AUD400B Studio Recording II AUD410 3 credits, 3 hours lecture/lab Studio Electronics A course focusing on the techniques and protocols 2 credits, 2 hours lecture/lab involved in multi-track recording projects. Includes An in-depth look into the inner workings of a analysis of advanced large-format console signal recording studio, this course will explore cables flow and exploration of sophisticated ensemble and connectors, audio circuits, schematics, levels microphone techniques. Students engineer the in audio, and basic studio equipment maintenance final project for Music Production I (sound-a-like). and troubleshooting. Location: Fantasy Studios. Lab Fees: TBA Prerequisites: AUD310B Prerequisites: AUD305A, AUD300B, AUD401.

25 COURSE DESCRIPTIONS

AUD411 Audio 020 Series — Music Production Recording Studio Internship Program (Existing as REC101 Recording Studio AUD320 Internship Program) Survey of Music Production 3 credits, 2–3 days week/lab 1 credit, 1 hour lecture In conjunction with Fantasy Studios at Zaentz An investigation into every step of music produc- Media Center, a course providing supervised tion. Includes an historical overview of the music practical training in the inner workings of a profes- production industry along with project manage- sional, multi-room recording facility. Internship ment and the process of creating a successful training includes: independent or major label release. Students • Basic recording techniques and microphone analyze and evaluate the effectiveness of the placement various production techniques used in producing • Basic recording session design and setup select demos and commercial recordings. • Signal flow theory and patching • Basic mixing console theory and application AUD321 • Recording session etiquette Critical Listening for Audio Production 1 credit, 1 hour lecture/lab • Proper microphone and equipment handling A course designed to develop listening skills and storage critical to the field of audio production through • Basic studio administrative tasks analysis of recording and mixing techniques. • Client concierge services Covers balances, panning, EQ, reverb, compres- • Hospitality maintenance and cleanliness sion, delay and time-based effects, instrument Location: Fantasy Studios identification and stylistic comparisons of record- Prerequisites: AUD300B; AUD400A; résumé and ing and mix techniques. Listening analysis exam- consent of Fantasy Studios Internship Program ples and concepts are reinforced through weekly Coordinator critical listening assignments. Students participate in weekly ear training drills.

AUD402 Music Production I 3 credits, 3 hours lecture/lab 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/Fantasy Studios. Lab Fees: TBA. Prerequisites: AUD320; AUD400A

26 COURSE DESCRIPTIONS

business of music Bus401 Pedagogy Techniques Bus300 1 credit, 1 hour lecture Audio for Live Performance and Recording A course focusing on pedagogy techniques and 1 credit, 1 hour lecture issues related to pedagogy. Guided by instructor An introductory overview of live performance on an individual basis, students design and present audio systems and basic recording technology a live, short-term workshop (2 hours) on a topic of providing an explanation of the signal path from their choice to the public as part of the Jazzschool the source through the microphone to its eventual Workshop Series. Students gain hands-on teaching destination of live show, loudspeaker or recording skills, expanding their employment options as media. Strategies for successful live performance professional musicians. and interaction with live recording engineers are Prerequisites: senior-year standing or consent of presented. instructor. Please note: Workshop proposals must be submitted to and approved by instructor six Bus301 months prior to presentation and a minimum of six Legal Aspects of the Music Industry months prior to planned graduation. for Jazz Musicians 1 credit, 1 hour lecture An overview of the various legal issues in the senior project music industry and the manner in which the law and technology have shaped the evolution of Sen400 the industry. Covers current legal issues faced by Senior Project jazz musicians and jazz labels and the business 1 credit/lab practices that are being developed to address Seniors prepare and present a 50-minute concert/ them. Provides an understanding of the principles project according to their particular plan of study of contract and copyright law and covers topics within the Jazz Studies degree (see below). All relevant to jazz musicians today, including the role Senior Projects are completed in conjunction with of agents and managers, live performance agree- a faculty advisor. ments, recording contracts, music publishing, • Jazz Studies (Instrumental/Vocal tracks) producer agreements, licensing music for motion A 50-minute concert of jazz and related styles of pictures, television and commercials, understand- music open to the public. Students compose and/ ing royalty statements and the distribution and or arrange repertoire, choose personnel, rehearse sale of music on the Internet. the band and market the concert. • Jazz Studies — concentration in Brazilian Jazz Bus400A (Instrumental/Vocal tracks) Marketing & Public Relations A 50-minute concert of Brazilian jazz open to 1 credit, 1 hour lecture the public. Students compose and/or arrange A one-semester course focusing on marketing repertoire, choose personnel, rehearse the band and publicity practices critical to the success and market the concert. of the professional musician. • Jazz Studies — concentration in Audio Production (Instrumental track) Bus400B A release-ready multi-track recording consisting Marketing & Public Relations of a minimum of three selections. Emphasis on 1 credit, 1 hour lecture both the technical and creative aspects of the A continuation of BUS400A, focusing on production along with market targeting. developing individualized marketing plans, utilizing Location: Fantasy Studios. current technologies, strategies and platforms. • Jazz Studies — concentration in North American Prerequisites: BUS400A Roots Music (Instrumental/ Vocal tracks) A 50-minute concert of North American roots music open to the public. Students compose and/ or arrange repertoire, choose personnel, rehearse the band and market the concert. 27 COURSE DESCRIPTIONS DEPARTMENT OF GENERAL STUDIES

The General Studies curriculum is integral to AREA 1. ENGLISH COMMUNICATION the overall development of the aspiring jazz

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

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

28 COURSE DESCRIPTIONS

ENG103 ENG110 Practical Rhetoric: Introduction to Shakespeare: Writing to Describe, Persuade, Argue From Plays to Works English Composition Requirement / Elective English Literature Requirement / Elective 3 credits, 3 hours lecture 3 credits, 3 hours lecture A course focusing on developing practical writing, A course examining three selected Shakespeare reading, and critical-thinking skills by addressing plays and poetry such as Twelfth Night, Othello, the rhetoric of argument. Topics include: Aristotle’s the Sonnets, and King Lear with an emphasis on description of the various means of persuasion in historical context from the Renaissance to the The Art of Rhetoric; famous political speeches present. The shift from Shakespeare’s theatre as that deploy rhetorical strategies; analyses of music raw commercial entertainment to its status today that makes a social commentary; how to write as preeminent drama is analogous to the evolution skillful program notes to accompany a piece of of jazz as early twentieth century entertainment music in performance; how to critique a piece found in brothels, bars and dance halls, to its of music; and how to write autobiographically in status today as a serious art form. Working in a way that represents students’ personal skills seminar format, students consider problems of and achievements both positively and accurately. poetry, character and performance and attend a live performance of one of the plays, schedule English Literature permitting.

ENG105 Poetry of Jazz; Jazz of Poetry English Literature Requirement / Elective 3 credits, 3 hours lecture Beginning with the lyrics of work songs, gospel and blues, and continuing through the Harlem Renaissance, pre- and post- World War II, bebop and the Beats, modern and postmodern, and the “NOW,” jazz poetry has rhythmic and lyrical styles nurtured by the music and its players. This extensive range of poetic and jazz aesthetics is studied through the voices of Bessie Smith, Willie Dixon, Langston Hughes, Jack Kerouac, Michael McClure, Al Young, Michael S. Harper, Jayne Cortez, Ishmael Reed, Billy Collins, Quincy Troupe and others. In depth readings and analysis, as well as historical and musical context are emphasized and explored.

29 COURSE DESCRIPTIONS

berkeley city college courses AREA 2. ARTS AND HUMANITIES

(Requirement: 6 credits) The following suggested courses also fulfill the CJC English Composition General Studies require- ment and have been approved for transfer from Students are required to take 6 credits in the area Berkeley City College. Please note: Additional of Arts and Humanities. The following courses fulfill courses of interest may be approved on a case-by- the CJC Arts and Humanities General Studies case basis. For Berkeley City College course requirements and are offered at the CJC: descriptions and class schedules, please visit berkeleycitycollege.edu/wp/programs/ HUM100 class-schedules-and-catalogs/. What is Jazz? Requirement/Elective ENGL 1A, 1B Composition and Reading 3 credits, 3 hours lecture (4 credits) A one-semester course examining jazz in all its ENGL 5 Critical Thinking in Reading and aspects including the origins of the term, its Writing (3 credits) definitions, representations and interpretations in ENGL 100 College Composition and Reading print, photographs, film, dance and visual arts, and (3 credits) its various styles and genres from its beginnings in New Orleans to its current annual celebration globally on Jazz Appreciation Day. Students will The following suggested courses also fulfill the survey writings on jazz from critics, fans and CJC English Literature General Studies require- musicians, engage in intensive listening of repre- ment and have been approved for transfer from sentative recordings, view TV, film and documen- Berkeley City College. Please note: Additional tary segments, and participate in classroom courses of interest may be approved on a case- discussions of the subject. by-case basis. For Berkeley City College course descriptions and class schedules, please visit HUM200 berkeleycitycollege.edu/wp/programs/ Introduction to Linguistics class-schedules-and-catalogs/. Requirement/Elective ENGL 50 Multicultural American Literature 3 credits, 3 hours lecture (3 credits) A general survey of the field of linguistics and introduction to core areas such as phonetics ENGL 85A Literature in English through and phonology, morphology, syntax and Milton semantics, historical change, creolization and (4 credits) contact phenomena, language acquisition, ENGL 85B Literature in English: pragmatics and sociology, with a wide range Late 17th through Mid 19th of data from diverse languages. Students learn Century the basic principles of linguistic analysis and (4 credits) analytical reasoning, and the skills needed to HISTORY 47 Critical Thinking in History draw generalizations and find patterns to (3 credits) understand and explain how languages work.

30 COURSE DESCRIPTIONS

HUM305 Philosophy of Jazz berkeley city college courses Requirement/Elective 3 credits, 3 hours lecture The following suggested courses also fulfill the What is the meaning of jazz? What is the purpose CJC Arts and Humanities General Studies require- of art? How do you form your artistic message ments/electives and have been approved for within the jazz idiom? Andy Hamilton’s “Aesthetics transfer from Berkeley City College. Please note: and Music” serves as a guide in addressing these Additional courses of interest may be approved profound questions while reviewing the history of on a case-by-case basis. For Berkeley City College music aesthetics from Plato to Adorno. Topics course descriptions and class schedules, please covered include a history of the concept of music visit berkeleycitycollege.edu/wp/programs/ and improvisation, and the relationship of jazz to class-schedules-and-catalogs/. modernism and postmodern philosophy. Students ART 1 Introduction to Art History (3 question their own expectations regarding jazz, credits) including the relationship between art and commerce and personal motivations behind ART 4 History of Modern Art (3 credits) their artistic pursuits. AFRAM 44B African-American Culture Today: African-American Music/Art/ HUM340 Thought (3 credits) Brazilian Portuguese COMM 5 Persuasion and Critical Thinking Requirement/Elective (3 credits) 3 credits, 3 hours lecture/lab An introduction to the Portuguese language FREN 1A, 1B Elementary French (5 credits) specific to the Brazilian vernacular. Emphasis on HIST 33 History of Native American the four basic communication skills: reading, Thought and Literature (3 credits) writing, speaking and listening with particular HUMAN 21 Film: Art and Communication attention given to pronunciation. (3 credits) HUMAN 26 Global Cinema (4 credits) HUMAN 30A, 30B Human Values/Ethics (4 credits) HUMAN 40 Religions of the World (3 credits) HUMAN 46 Philosophy of the Human Experience (3 credits) PHIL 1 Introduction to Philosophy (3 credits) PHIL 10 Logic (3 credits) PHIL 46 Philosophy of the Human Experience (3 credits) PORT 1A, 1B Elementary Portuguese (5 credits) SPAN 1A, 1B Elementary Spanish (5 credits) WS 35 Feminist Philosophy (3 credits)

31 COURSE DESCRIPTIONS

AREA 3. SOCIAL SCIENCES HIS100B Jazz History — Style and Culture (Requirement: 12 credits) in America from 1920 – 1939 3 credits, 3 hours lecture A survey of early jazz styles, from the Jazz Age Students are required to take 12 credits in of the Prohibition era, through the reign of the the area of Social Sciences. HIS100A – 200B fulfills swing bands and the jitterbug, to the pre-World the CJC Social Sciences General Studies require- War II modern jazz jam sessions in Harlem. The ment and is offered at the CJC. Please note: The music of Louis Armstrong, Duke Ellington, Social Sciences General Studies requirement is not Charlie Parker and many others is studied transferable from another institution. This require- within the contexts of the post-World War I ment must be fulfilled at the CJC. economic boom, the Great Depression, ballrooms and big bands, the rise of sound Jazz History motion pictures, American musical theater A four-semester course examining the musical and and the Great American Songbook, among cultural development of jazz, from its antecedents other socioeconomic and cultural touchstones. in the musical cultures of West Africa, Western Prerequisite: HIS100A Europe and the New World, to the music that is performed internationally today. Through exten- HIS200A sive listening, reading and discussion, students Jazz History — Style and Culture gain a solid understanding of jazz, a twentieth- in America from 1940 – 1959 century urban dance music that has become 3 credits, 3 hours lecture globally celebrated as a cultural art form embody- This course explores jazz as an art form, with a ing the ideals of freedom and democracy. focus on the musical innovations of modern jazz through the beginnings of free jazz. Styles includ- HIS100A ing bebop, hard bop, funk, Latin jazz, cool jazz, Jazz History — The Roots of Jazz and other styles created by Dizzy Gillespie, and Early Jazz, Pre-1900 – 1919 Thelonious Monk, Miles Davis, Max Roach, the 3 credits, 3 hours lecture Modern Jazz Quartet, Art Blakey’s and Horace This course examines the influences of West Silver’s Jazz Messengers, Ornette Coleman and African, Caribbean, South American, Asian and many of their collaborators are examined, focusing European music and culture on the development on instrumental grouping, structural, harmonic and of jazz pre-1900, and on the early music of New rhythmic creativity, and folk influences. Students Orleans that became known to the world as draw connections between the mid-century impact jazz by 1917. The course focuses on the West of World War II, the Atomic Age and the Cold War, African conceptual approaches, practices, and the hegemony of television, advertising, the cultural conventions that form the foundation of burgeoning Civil Rights Movement and other jazz, and its origins in spirituals, blues, ragtime and historical epochs upon the evolution of jazz. other African American sacred and secular music. Prerequisite: HIS100B The development of jazz is studied within the historical context of American social forces including post-bellum segregation, the industrial boom and the Great Black Migration, World War I, and the invention of the radio and sound recordings.

32 COURSE DESCRIPTIONS

HIS200B berkeley city college courses Jazz History — Style and Culture in America from 1960 – Present The following suggested courses also fulfill CJC’s 3 credits, 3 hours lecture Mathematics and Quantitative Reasoning General This course surveys the range of idioms and Studies requirement and have been approved for subgenres of post-Coltrane jazz, particularly the transfer from Berkeley City College. Please note: evolution of free jazz with the AACM, the 1970s Additional courses of interest may be approved on New York Loft Scene, jazz in Europe, the music and a case-by-case basis. For Berkeley City College ideas of Wynton Marsalis juxtaposed with the course descriptions and class schedules, please electronic fusion music of Miles Davis and his visit berkeleycitycollege.edu/wp/programs/ collaborators, Herbie Hancock, Weather Report, class-schedules-and-catalogs/. Chick Corea and others, and the return of jazz to its dance origins. The steady influx of global influences BUS 10 Introduction to Business (3 credits) from traditional and contemporary musicians from BUS 20 General Accounting (3 credits) Africa, Asia, and the New World continues to infuse a diverse range of compositional styles, BUS 53 Small Business Management (3 credits) forms and instruments into the jazz world. BUS 20 Business Mathematics (3 credits) Prerequisite: HIS200A

AREA 4. MATHEMATICS AND AREA 5. PHYSICAL SCIENCES QUANTITATIVE REASONING (Requirement: 3 credits) (Requirement: 3 credits)

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

33 BACHELOR OF MUSIC DEGREE CURRICULUM REQUIREMENTs IN JAZZ STUDIES (BMJS) template

INSTRUMENTALI STS semester TOTALS PER REQUIRED COURSES 1 2 3 4 5 6 7 8 area For course titles, MUSicianshipi MUS100A–200Bi 3 3 3 3 12 see Guide to MUS101, 201i 1 1 2 Course Titles THEORYii THE100A–300Aii 3 3 3 3 3 15 (page 39 – 41) THE301ii 2 2 HARMONYi HAR390A–390Bi 3 3 6 *4 credits may COMPOSITION COM300 3 3 be taken as Com301A 3 3 Independent HISTORYiii HIS300iii 2 2 Study; 4 credits HIS330iii 2 2 may be taken as HIS390A–390Biii 3 3 6 Performance PRIVATE INSTRUCTIONii Prv100A–400Bii 1 1 1 1 1 1 1 1 8 PERFORMANCE PRF000 Series 2 2 2 2 2 10 **or comparable PRF030 Series 2 2 transfer course PRF040 Series 2 2 PRF050 Series 2 2 PRF000–090 2 2 4 MUSIC TecHNOLOGYi Tec100ii 2 2 AUD300Aii 3 3 BusINESS Bus300 1 1 BUS301 1 1 BUS400 1 1 BUS401 I 1 1 ELECTIVES ELECTIVES* 1 3 3 2 2 2 2 15 ENGLISH ENG100, 102, 103** 3 3 I ENG 105,110** I 3 3 HUMANITIES HUM100,305** 3 3 6 HISTORY HIS100A–200Bi 3 3 3 3 12 MATHEMATICSi MAT300** i 3 3 Four-Year Total physical SCIENCESiii SCI300iii 3 3 = 136 SOCIAL SCIENCES Sen400ii 1 1 (Pianists = 134) semester totals 17 18 17 17 17 16 17 17 136

VOCALISTS semester TOTALS PER REQUIRED COURSES 1 2 3 4 5 6 7 8 area For course titles, MUSicianshipi MUS100A–200Bi 3 3 3 3 12 see Guide to MUS101, 201i 1 1 2 Course Titles THEORYii THE100A–200Bii 3 3 3 3 12 (page 39 – 41) THE315A-315B 3 3 6 HARMONYi HAR390A–390Bi 3 3 6 *4 credits may COMPOSITION COM210 2 2 be taken as Com300 3 3 Independent HISTORYiii HIS110 2 2 Study; 4 credits HIS390A–390Biii 3 3 6 may be taken as PRIVATE INSTRUCTIONii Prv110A–410Bii 1 1 1 1 1 1 1 1 8 Performance PERFORMANCE PRF110A–210B 3 3 3 3 12 PRF111A–111B 2 2 4 **or comparable PRF000–090 2 2 2 6 transfer course MUSIC TecHNOLOGYi Tec100ii 2 2 AUD300Aii 3 3 BusINESS Bus300, 301, 400, 401 2 2 4 ELECTIVES ELECTIVES* 1 1 3 8 2 15 ENGLISH ENG100, 102, 103** 3 3 ENG 105,110** I 3 3 HUMANITIES HUM100A, 305** 3 3 6 HISTORY HIS100A–200Bi 3 3 3 3 12 MATHEMATICSi MAT300**i 3 3 Four-Year Total physical SCIENCESiii SCI300iii 3 3 = 136 SOCIAL SCIENCES Sen400ii 1 1 (Pianists = 134) semester totals 18 17 17 16 17 17 17 17 136

34 BMJS / C oncentration in CURRICULUM REQUIREMENTs BRAZILIAN JAZZ template

INSTRUMENTALI STS semester TOTALS PER REQUIRED COURSES 1 2 3 4 5 6 7 8 area For course titles, MUSicianshipi MUS100A–200Bi 3 3 3 3 12 see Guide to MUS101, 201i 1 1 2 Course Titles THEORYii THE100A–200Bii 3 3 3 3 3 15 (page 39 – 41) THE301ii 2 2 HARMONYi HAR390A–390Bi 3 3 6 *4 credits may COMPOSITION COM300 3 3 be taken as Com301A 3 3 Independent HISTORYiii HIS340iii 2 2 Study; 4 credits HIS390A–390Biii 3 3 6 may be taken as PRIVATE INSTRUCTIONii Prv100A–400Bii 1 1 1 1 1 1 1 1 8 Performance PERFORMANCE PRF240 2 2 2 2 2 2 2 2 16 PRF242 2 2 **or comparable PRF245 3 3 transfer course PRF100–400 2 2 4 MUSIC TecHNOLOGYi Tec100ii 2 2 BusINESS Bus300, 301 2 2 BUS400, 401 2 2 ELECTIVES ELECTIVES* 2 4 3 2 2 15 ENGLISH ENG100, 102, 103** 3 2 3 ENG 105,110** I 3 3 HUMANITIES HUM340 3 3 I HUM100,305** 3 3 HISTORY HIS100A–200Bi 3 3 3 3 12 MATHEMATICSi MAT300** i 3 3 Four-Year Total physical SCIENCESiii SCI300iii 3 3 = 136 SOCIAL SCIENCES Sen400ii 1 1 (Pianists = 134) semester totals 17 17 17 17 17 17 17 17 136

VOCALISTS semester TOTALS PER REQUIRED COURSES 1 2 3 4 5 6 7 8 area For course titles, MUSicianshipi MUS100A–200Bi 3 3 3 3 12 see Guide to MUS101, 201i 1 1 2 Course Titles THEORYii THE100A–200Bii 3 3 3 3 12 (page 39 – 41) THE315Aii 3 3 HARMONYi HAR390A–390Bi 3 3 6 *4 credits may COMPOSITION COM210 2 2 be taken as Com300 3 3 Independent HISTORYiii HIS110iii 2 2 Study; 4 credits HIS390A–390Biii 3 3 6 may be taken as PRIVATE INSTRUCTIONii Prv100A–400Bii 1 1 1 1 1 1 1 1 8 Performance PERFORMANCE PRF110A–210B 3 3 3 3 12 PRF111A–111B 2 2 4 **or comparable PRF240, 242, 245 2 2 4 4 12 transfer course MUSIC TecHNOLOGYi Tec100ii 2 2 BusINESS Bus300 1 1 BUS301 1 1 BUS400 1 1 BUS401 I 1 1 ELECTIVES ELECTIVES* 1 1 4 4 3 2 15 ENGLISH ENG100, 102, 103** 3 3 ENG 105,110** I 3 3 HUMANITIES HUM340** 3 3 I HUM100,305** 3 3 HISTORY HIS100A–200Bi 3 3 3 3 12 MATHEMATICSi MAT300** i 3 3 Four-Year Total physical SCIENCESiii SCI300i 3 3 = 136 SOCIAL SCIENCES Sen400ii 1 1 (Pianists = 134) semester totals 18 16 17 17 17 17 17 17 136

35 BMJS / C oncentration in CURRICULUM REQUIREMENTs NORTH AMERICAN ROO TS MUSIC template

INSTRUMENTALI STS semester TOTALS PER REQUIRED COURSES 1 2 3 4 5 6 7 8 area For course titles, MUSicianshipi MUS100A–200Bi 3 3 3 3 12 see Guide to MUS101, 201i 1 1 2 Course Titles MUS180i 1 1 (page 39 – 41) THEORYii THE100A–300Aii 3 3 3 3 3 15 THE301ii 2 2 *4 credits may HARMONYi HAR390A–390Bi 3 3 6 be taken as COMPOSITION COM300 3 3 Independent Com301A 3 3 Study; 4 credits HISTORYiii HIS385iii 2 2 may be taken as HIS386iii 3 3 Performance HIS387iii 3 3 HIS390A–390Biii 3 3 6 **or comparable PRIVATE INSTRUCTIONii Prv100A–400Bii 1 1 1 1 1 1 1 1 8 transfer course PERFORMANCE PRF100–400 2 2 4 PRF207 2 2 PRF302 2 2 PRF380 2 2 PRF381 2 2 PRF382 2 2 PRF383 2 2 PRF480 2 2 MUSIC TecHNOLOGYi Tec100ii 2 2 BusINESS Bus300, 301 2 2 BUS400, 401 2 2 ELECTIVES ELECTIVES* 1 1 2 3 2 3 1 2 15 ENGLISH ENG100, 102, 103** 3 3 I ENG 105,110** I 3 3 HUMANITIES HUM100,305** 3 3 6 HISTORY HIS100A–200Bi 3 3 3 3 12 MATHEMATICSi MAT300** i 3 3 Four-Year Total physical SCIENCESiii SCI300iii 3 3 = 136 SOCIAL SCIENCES Sen400ii 1 1 (Pianists = 134) semester totals 17 17 17 17 17 17 17 17 136

VOCALISTS semester TOTALS PER REQUIRED COURSES 1 2 3 4 5 6 7 8 area For course titles, MUSicianshipi MUS100A–200Bi 3 3 3 3 12 see Guide to MUS101, 201i 1 1 2 Course Titles MUS180i 1 1 (page 39 – 41) THEORYii THE100A–200Bii 3 3 3 3 12 THE315Aii 3 3 *4 credits may HARMONYi HAR390A–390Bi 3 3 6 be taken as COMPOSITION COM210 2 2 Independent Com300 3 3 Study; 4 credits HISTORYiii HIS110iii 2 2 may be taken as HIS385iii 2 2 Performance HIS386iii 3 3 HIS390A–390Biii 3 3 6 **or comparable PRIVATE INSTRUCTIONii Prv110A–410Bii 1 1 1 1 1 1 1 1 8 transfer course PERFORMANCE PRF110A–210B 3 3 3 3 12 PRF111A, 111B 2 2 4 PRF380 2 2 PRF207 or 383 2 2 PRF381 or 382 2 2 MUSIC TecHNOLOGYi Tec100ii 2 2 BusINESS Bus300, 301 2 2 BUS400, 401 2 2 ELECTIVES ELECTIVES* 1 1 5 3 5 15 ENGLISH ENG100, 102, 103** 3 3 I ENG 105,110** I 3 3 HUMANITIES HUM100,305**, HIS387 3 3 6 HISTORY HIS100A–200Bi 3 3 3 3 12 MATHEMATICSi MAT300** i 3 3 Four-Year Total physical SCIENCESiii SCI300iii 3 3 = 136 SOCIAL SCIENCES Sen400ii 1 1 (Pianists = 134) semester totals 18 17 17 17 17 16 17 17 136

36 Four-Year Total = 136 (Pianists = 134) BMJS / C oncentration in CURRICULUM REQUIREMENTs AUDIO PRODUCTION template

semester TOTALS PER REQUIRED COURSES 1 2 3 4 5 6 7 8 area For course titles, 3 3 3 3 12 MUSicianshipi MUS100A–200Bi see Guide to 1 1 2 MUS101, 201i Course Titles THEORYii THE100A–200Bii 3 3 3 3 12 (page 39 – 41) THE301ii 2 2 HARMONYi HAR390A–390Bi 3 3 6 *4 credits may COMPOSITION COM300 3 3 be taken as Com301A 3 3 Independent HISTORYiii HIS390A–390Biii 3 3 6 Study; 4 credits PRIVATE INSTRUCTIONii Prv100A–400Bii 1 1 1 1 1 1 1 1 8 may be taken as PERFORMANCE PRF100–400 2 2 Performance PRF230 2 2 PRF240 2 2 **or comparable PRF250 2 2 transfer course MUSIC TecHNOLOGYi Tec100ii 2 2 AUD300A 3 3 AUD300B 2 2 AUD305A 2 2 AUD400Ai 3 3 AUD400Bi 3 3 AUD310Ai 2 2 AUD310Bi 2 2 AUD320i 1 1 AUD321i 1 1 AUD402 3 3 BusINESS BUS300, BUS301 2 2 BUS400, BUS401 2 2 ELECTIVES ELECTIVES* 1 1 4 4 1 4 15 ENGLISH ENG100, 102, 103** 3 3 ENG 105,110** I 3 3 HUMANITIES HUM100,305** 3 3 6 HISTORY HIS100A–200Bi 3 3 3 3 12 MATHEMATICSi MAT300** i 3 3 Four-Year Total physical SCIENCESiii SCI300iii 3 3 = 136 SOCIAL SCIENCES Sen400ii 1 1 (Pianists = 134) semester totals 17 17 16 17 17 17 18 17 136

37 ASSOCIATE OF ARTS DEGREE cuRRiculuM REQuiREMEnTs IN JAZZ STUDIES TEMplaTE

INsTRuMENTALIsTs sEMEsTER TOTALs PER REQuIRED COuRsEs 1 2 3 4 AREA For course titles, MUSiCiANSHiPi MUS100A–200Bi 3 3 3 3 12 see Guide to MUS101, 201i(non-pianists) 1 1 2 Course Titles THEORYii THE100A–200Bii 3 3 3 3 12 (page 39 – 41) PRivATE iNSTRUCTiON ii PRv100A–200Bii 1 1 1 1 4 PERFORMANCE PRF100-400 2 2 4 *2 credits may PRF230 2 2 be taken as PRF240 2 2 Performance PRF250 2 2 PRF100–499 2 2 **or comparable MUSiC TECHNOLOGY i TEC100ii 2 2 transfer course ELECTivES ELECTivES* 3 3 6 ENGLiSH ENG100, 102, 103** 3 3 ENG 105,110** i 3 3 HiSTORY HiS100A–200Bi 3 3 3 3 12 Two-Year Total = 68 sEMEsTER TOTALs 18 16 17 17 68 (Pianists = 66)

VOCALIsTs sEMEsTER TOTALs PER REQuIRED COuRsEs 1 2 3 4 AREA For course titles, MUSiCiANSHiPi MUS100A–200Bi 3 3 3 3 12 see Guide to MUS101, 201i 1 1 2 Course Titles THEORYii THE100A–200Bi 3 3 3 3 12 (page 39 – 41) COMPOSiTiON COM210 2 2 HiSTORY HiS 110 2 2 *2 credits may PRivATE iNSTRUCTiON ii PRv110A–210Bii 1 1 1 1 4 be taken as PERFORMANCE PRF110–210B 3 3 3 3 12 Performance MUSiC TECHNOLOGY i TEC100ii 2 2 ELECTivES ELECTivES* 1 1 2 **or comparable ENGLiSH ENG100, 102, 103** 3 3 transfer course ENG 105,110** i 3 3 HiSTORY HiS100A–200Bi 3 3 3 3 12 Two-Year Total = 68

sEMEsTER TOTALs 18 16 17 17 68 (Pianists = 66)

38 guide to course titles (1)

Course Numbers Course Titles

ARTS AND HUMANITIES HUM100 What is Jazz? HUM200 Introduction to Linguistics HUM305 Philosophy of Jazz AUDIO PRODUCTION AUD300A-C Digital Audio Workstation AUD305A-B Mix AUD310A-B Audio Technology AUD320 Survey of Music Production AUD321 Critical Listening AUD400A-B Studio Recording AUD410 Studio Electronics AUD411 Studio Internship AUD420 Music Production BUSINESS OF MUSIC BUS300 Audio for Live Performance and Recording BUS301 Legal Aspects of the Music Industry for Jazz Musicians BUS400 Marketing and Publicity BUS401 Pedagogy Techniques COMPOSITION AND ARRANGING COM210 Lyric Writing COM300 Jazz Composition COM301A-B Jazz Arranging COM390 Counterpoint COM400 Composition Seminar ENGLISH COMMUNICATION ENG100 The Essay ENG102 The Biography and Autobiography ENG103 Practical Rhetoric: Writing to Describe, Persuade, Argue ENG105 Poetry of Jazz; Jazz of Poetry ENG110 Introduction to Shakespeare: From Plays to Works HARMONY HAR390A-B Western European Harmonic Practice HAR390C 20th Century Harmony HISTORY HIS100A-200B Jazz History (See also under Social Sciences) HIS261 History of Funk HIS300 Jazz and Cross-Cultural Practice HIS301 New Orleans: The Birthplace of Jazz HIS302 The Miles Davis Legacy HIS308 The Language of Hard Bop HIS309 Jazz Oral History Methodology HIS310 The Jazz Singers HIS320 Bowed String Players in Jazz HIS330 Latin American Roots of Jazz HIS340 Brazilian Roots of Jazz HIS370 The Beatles HIS385 History of American Roots Music from 1900 – Present HIS386 The Blues: From Spirituals to Ornette Coleman HIS387 Protest Songs – From the African American Work Song to Women’s Rights HIS390 History of 20th Century Music HIS390A-B History of Western European Music HUMANITIES (See Arts and Humanities)

CONTINUED ON NEXT PAGE 39 guide to course titles (2)

Course Numbers Course Titles

MATHEMATICS AND QUANTITATIVE REASONING MAT300 Entrepreneurial Skills for Musicians MUSICIANSHIP MUS100A-200B Ear Training and Sight Singing MUS101 Keyboard Proficiency — Piano for Non-Pianists MUS102 Individual Tutorial MUS103A-B Supplemental Musicianship Skills MUS104 Drum Set Technique for Non-Drummers MUS105 Introduction to Mallet Percussion MUS110 Vocal Technique for Instrumentalists MUS150 Introduction to North Indian Tabla MUS180 Roots Guitar Styles and Techniques for Non-Guitarists MUS190A-B Yoga for Musicians MUS191 Alexander Technique MUS201 Keyboard Proficiency —Jazz Piano for Non-Pianists MUS202 Sight Reading Workshop MUS203A-B Supplemental Musicianship Skills MUS204 The Application of Eurhythmics to Jazz Repertoire MUS205 Chart Reading Workshop for Drummers MUS207 Double Bass Ensemble Workshop MUS208 Gypsy Jazz Guitar Styles and Techniques MUS209A-B Practical Applications for the Rhythm Section MUS240 Brazilian Jazz Guitar Styles and Techniques MUS250 North Indian Music Fundamentals Through Voice MUS280 Traditional Fiddle Styles and Techniques (New) MUS300A-B Advanced Musicianship MUS308 Drum Grooves and Solos in Odd Meters MUS309 Fusion Drumming Styles and Techniques MUSIC TECHNOLOGY TEC100 Introduction to Music Technology PERFORMANCE PRF100-400 Jazz Repertoire Ensemble PRF101 Horace Silver Ensemble PRF110A-210B Vocal Performance PRF111A-B Vocal Jazz Ensemble PRF120-420 Jazz Strings Chamber Ensemble PRF201 Miles/Wayne Ensemble PRF203 Jazz Fusion Ensemble PRF204 Gypsy Jazz Ensemble PRF205 Wes Montgomery Ensemble PRF206 Guitar Ensemble PRF207 Blues and R&B Ensemble PRF230 Latin Jazz Ensemble PRF231 Afro-Venezuelan Jazz Ensemble PRF232 Eddie Palmieri Ensemble PRF240 Brazilian Jazz Repertoire Ensemble PRF242 Choro Ensemble PRF245 Brazilian Rhythm Ensemble PRF246 Brazilian Jazz Guitar Ensemble PRF250 Traditional North Indian Ensemble PRF260 Blues and R&B Ensemble PRF261 East Bay Funk Ensemble PRF262 Ska and Reggae Ensemble PRF290 Saxophone Quartet

40 guide to course titles (3)

Course Numbers Course Titles

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

41 FACULTY

Laurie Antonioli / Voice Theo Bleckmann / Voice and the internationally acclaimed Asian Chair, Vocal Jazz Studies (Visiting Professor, on occasion) American Orchestra. He has contrib- (Full Professor, part-time) National and international performing uted chapters to “John Coltrane and Studied at Mt. Hood College and and recording artist and educator. Black America’s Quest For Freedom” Cal State Long Beach. Student of Performed with Laurie Anderson, (Oxford U. Press), “The Cambridge Joe Henderson and Mark Murphy. Anthony Braxton, Steve Coleman, Companion to Duke Ellington” Professor, Vocal Jazz Studies, Dave Douglas, Philip Glass, Meredith (Cambridge U. Press), and his book, KUG U., Graz, Austria 2002-2006); Monk, Michael Tilson Thomas, John “GIVE THE DRUMMER SOME!” International performing and record- Zorn and the Bang On A Can All-Stars. “The Development of Modern Jazz ing artist with releases on Nabel Featured soloist with the Albany Drumming” is forthcoming on Records, Germany; Yamaha Records, Symphony, San Francisco Symphony University of California Press. Japan; and Origin Records, USA. Chorus, Estonian Radio Choir, Merce fifthstreammusic.org Owner of Intrinsic Music Record Cunningham Dance Company and Co. Clinician, adjudicator and Mark Morris Dance Group. Currently Terry Buehler curriculum development for CJC on faculty at Manhattan School of (Associate Professor, part-time) Vocal Program. Co-teaches annual Music. Previously on faculty at New Graduate studies in Mathematics, summer Vocal Jazz Intensive with York University, The New School and University of California, Berkeley; Theo Bleckmann. Performed and/ Queens College. Teaches voice privately BSME in Mechanical Engineering and or recorded with George Cables, and in workshops and master classes Mathematics, University of Wisconsin, Bobby McFerrin, Richie Beirach, worldwide. theobleckmann.com Madison. Lecturer, lab and discussion Pony Poindexter, Joe Henderson, instructor, and lab manager with the Sheila Jordan and Mark Murphy. Lee Brenkman / Recording, Sound Physics Department at University of Bandleader of Foreign Affair Band (Associate Professor, part-time) California, Berkeley for 20+ years. Has and The American Dreams Band. Sound system operation, design. taught Physics and Music since 2012. Has released numerous critically Sound engineer, Avalon Ballroom, acclaimed recordings including Family Dog Productions; head sound Danny Caron / Guitar “Songs of Shadow, Songs of Light” technician, Great American Music Hall, (Adjunct Professor, part-time) — The music of Joni Mitchell (Origin Stanford Jazz Workshop, Dick Bright’s BA in English and Music, Oberlin Records, 2014), and “Varuna” with SRO Band; mixed live shows for Bill College; graduate of Howard Roberts’ Richie Beirach (Origin Records, Evans Trio, Stephane Grappelli, Count Guitar Institute, Los Angeles. Studied 2015), with reviews in Downbeat, Basie Orchestra, Sarah Vaughan, Van with Joe Diorio, Ron Eschete and Pat JazzTimes, AllAboutJazz, KQED Arts Morrison, Astor Piazzolla, Duke Martino among others. International and more. laurieantonioli.com Ellington Orchestra, Oregon; engi- touring and recording artist; music neered recordings by Ed Blackwell, director and guitarist for the late William R. Aron / Woodwinds Betty Carter, Tito Puente, Woody Charles Brown for over a decade. (Associate Professor, part-time) Herman, Hampton Hawes, Carmen Performed with legends including Van M.M in Performance, San Francisco McRae. Morrisson, Bonnie Raitt, Dr John, John State, 1982; B.A. in Music, UC Clayton and Teddy Edwards. Guitarist Berkeley, 1979. Professional musician Anthony Brown / Jazz History, on 2 Grammy Award-winning records, and music educator for 42 years; Jazz Oral History Methodology, “I’m Here” with Zydeco King Clifton specializing in classical saxophone Ethnomusicology Chenier, and “Don’t Look Back”, with playing with the San Francisco (Full Professor, part-time) Van Morrison and John Lee Hooker. Saxophone Quartet and San Composer, percussionist, ethnomusi- Faculty member of the California Francisco Symphony among others. cologist, Guggenheim and Ford Fellow, Jazz Conservatory since its inception Smithsonian Associate Scholar, and in 1997. Joe Bagale / Music Technology GRAMMY nominee Dr. Anthony Brown (Associate Professor, part-time) has collaborated with Max Roach, Maye Cavallaro / Voice Eastman School of Music (1-1/2 yrs.). Cecil Taylor, Zakir Hussain, Steve Lacy, (Associate Professor, part-time) Record producer; Manager, Coast David Murray, Anthony Davis and the Advanced degree in Education, Recorders, SF; awarded Outstanding San Francisco Symphony. Dr. Brown UC Santa Barbara; B.A. in English Lit, Rhythm Section Player by Wynton holds an M.A. and Ph.D. in music UC Santa Barbara. Fellow NY Cabaret Marsalis; studied with Rich Thompson, (ethnomusicology) from UC Berkeley, Symposium; faculty, Blue Bear School Steve Gadd, Ben Monder, Clay and a Master of Music degree in jazz of Music; faculty, Jazzschool since 2002, Jenkins, Ron Carter, Darmon performance from Rutgers University. private coaching, 30 years; producer, Meader, Scott Amendola; played He has served as a Visiting Professor 10 recordings; producer, 25 concerts with Fred Wesley (James Brown); of Music at UC Berkeley, an adviser and instructor/mentor for Jazzschool full time member of Bay Area bands and consultant for The Exploratorium, concert series; bandleader, performing including Hot Einstein, Realistic and previously was Curator of artist, recording artist; awarded Best of Orchestra, Disappear Incompletely, American Musical Culture and Director the Year in Jazz by the San Francisco and the Jazz Mafia Symphony of the Jazz Oral History Program at the Chronicle; visiting clinician, St. John’s Orchestra; leader, Joe Bagale Band. Smithsonian Institution. He is currently U.; graphic artist, web designer. Artistic Director of Fifth Stream Music, mzjazz.com 42 FACULTY

Matt Clark / Piano / Accompanist Angie Doctor / Steve Erquiaga / Guitar (Instructor, part-time) Vocal Jazz Ensemble (Associate Professor, part-time) BFA in Jazz Studies from the Oberlin (Associate Professor, part-time) National and international recording Conservatory of Music. Recorded and/ B.A. In Music Performance, Gonzaga and performing artist; performed at or performed with Bobby Hutcherson, University. Studied with Phil Mattson, Montreux Jazz Festival, Berlin Jazz Benny Golson, Eddie Marshall, John Terry Summa and Tim Smith. Founding Festival, North Sea Jazz Festival; Faddis, David “Fathead” Newman, member of the Grammy-nominated PM performed with Bobby McFerrin, Joe Gene Bertoncini, Joshua Redman, and Singers with Phil Mattson. Performing Henderson, Les McCann, John Teddy Edwards. Toured extensively and recording artist, studio singer, vocal Scofield, David Byrne, urtleT Island throughout Asia, Europe and the jazz adjudicator and clinician, jazz and String Quartet, Paulo Bellinati, Andy United States including appearances pop solo coach. Artist-in-residence, Narell, and Paul McCandless; founder, at the Monterey, San Francisco, Vienne, Vocal Jazz Choir and Solo Jazz Lab with leader, Trio Paradiso; faculty, Jamey Big Sur, Stanford, and Rochester jazz Melecio Magdaluyo at Ruth Asawa San Aebersold Jazz Clinics; publica- festivals in addition to televised Francisco School of the Arts High tions include Guitar Duets and performances for CNN Showbiz Today School. Performed with Bobby Arrangements from his CD Cafe and numerous PBS specials. Clinician, McFerrin, Don Shelton, The Hi-Lo’s, Paradiso. erquiaga.com lecturer in jazz history, and ensemble Barbara Morrison, The Manhattans, instructor at the Stanford, Oaktown Heatwave, Deneice Williams, Barbara Bill Evans / Banjo and Cazadero jazz workshops. Lewis, GQ, Gene Chandler, Eddie (Associate Professor, part-time) Holman, Barbara Mason and Billy Paul. PhD candidate & MA, UC Berkeley George W. Davis / Poetry / Founding member and lead singer for in Music (Ethnomusicology); BA, Literature Clockwork, currently The Girl in The University of Virginia, Anthropology (Adjunct Professor, part-time) Bobs, and member of the female vocal (Folklore); international performing/ BA in Literature, St. Lawrence quartet, Montage. recording artist who has performed University; Graduate Studies, Poetry with David Grisman, Peter Rowan and Drama, Bread Loaf School of Taylor Eigsti / Piano & Dry Branch Fire Squad; author of English & UC Berkeley; teaches English, (Visiting Professor, on occasion) Banjo For Dummies; guest clinician/ poetry, creative writing, Berkeley Studied music at U. of Southern artist in residence at Berklee College Adult School; tutor in Adult Education; California. Concord Recording Artist; of Music, Virginia Commonwealth teacher,” Literary Groove of Jazz”, 2007 Grammy nominee; faculty, University, Carleton College; director JCMS; co-producer, Florio Street Stanford Jazz Workshop since 1999; of NashCamp Banjo Camp; colum- Concerts; producer, Jazz and the leader, Taylor Eigsti Group with five nist for Banjo Newsletter magazine; Word, CJC; performer and reader albums as a leader; featured on BET 2012 CD In Good Company topped throughout the San Francisco jazz channel; performed with Joshua international folk and bluegrass charts; Bay Area. Redman; Ernestine Anderson, Dave mentored Chris Pandolfi (The Infamous Brubeck, Diane Schuur, James Moody, Stringdusters), Greg Liszt (Bruce Jeff Denson / Double Bass Bobby Hutcherson, Frederica Von Springsteen, Crooked Still), Wes (Full Professor, full-time) Stade, Patti Austin, Christian McBride, Corbett (Joy Kills Sorrow), Erik Yates DMA in Contemporary Music Red Holloway, Rufus Reid, Alan (Hot Buttered Rum) and Jayme Stone. Performance with an emphasis in Broadbent; featured on Marian billevansbanjo.com Composition, University of California McPartland’s Piano Jazz on NPR; San Diego; MM in Jazz Studies Magna featured in DownBeat Magazine, Ian Faquini / Guitar Cum Laude, Florida State University; Billboard, Jazziz, Jazz Times, (Instructor, part-time) BM in Performance Cum Laude, Berklee Keyboard Magazine. tayjazz.com B.M. in Jazz Studies, California Jazz College of Music. Enja Records record- Conservatory (in progress). Composer, ing artist with Minsarah and with the Kai Eckhardt / Bass guitarist, vocalist and arranger, spe- Lee Konitz New Quartet. National and (Adjunct Professor, part-time) cializing in the music from his native international performing and record- BA with honors, Berklee College of country, Brazil. Has performed and/ ing artist; performed with Bob Moses, Music. Internationally acclaimed or recorded nationally and internation- Joe Lovano, Carl Allen, Kenny Werner, performing and recording artist, ally with Guinga, Spok, Paula Santoro, Anthony Davis, Mark Dresser, Geoffrey composer and educator; performed Rafael Barata, Vitor Gonçalves, Keezer, Claudio Puntin, Lionel Loueke, with Steve Smith’s Vital Information, Moyseis Marques, Clarice Assad, Jean Dan Weiss, Ralph Alessi, Charles Alphonse Mouzon, Randy Brecker, John Charnaux, Túlio Araújo, Marcos Silva, McPherson and Lee Konitz. Select per- McLaughlin, Billy Cobham, Fareed Harvey Wainapel, Jeff Cressman, formances include: Berlin Jazz Festival, Haque, Courtney Pine, Zakir Hussain, Sandy Cressman, Almir Côrtes, and the JVC Jazz Festival Paris and the George Brooks, Mike Marshall, and Scott Thompson, among others. Ian Montreal Jazz Festival, The Kennedy Stanley Clarke. Faculty on occasion at teaches at the renowned California Center and the Village Vanguard. Berklee College of Music, Boston; the Brazil Camp and has also presented jeffdenson.com Bass Collective, NYC; Anton Bruckner many workshops throughout the Conservatory, Austria; and Musician’s United States and Brazil. Institute of Technology in Los Angeles. kaizone.com 43 FACULTY

Dan Feiszli / Bass, Todd M. Gascon / Business of Music release, Magic Beans (Sunnyside, Recording Engineer (Associate Professor, part-time) 2013), is his first self-produced record- (Associate Professor, part-time) JD University of Dayton; B.S.B.A. Ohio ing of all original compositions, and B.M. in Studio Music and Jazz, U. of Northern University. Todd Gascon is an includes his Jazz Messenger team- Miami, 1998. SF Bay Area-based bassist, entertainment and technology lawyer mate, Peter Washington on bass and producer and recording engineer. Has with the Zent Law Group in Sunnyvale, Kenny Washington on drums. Benny performed with Raul Midon, Julio California. Mr. Gascon’s practice is Green was the first recipient of the Iglesias, James Moody, Ann Hampton focused in the areas of intellectual Glenn Gould International Protégé Calloway, Ignacio Berroa, Jon Secada, property law and licensing, with a Prize in Music (1993), and his remark- and locally with a host of Bay Area particular emphasis in digital media, able career stretches back to his days musicians. Dan has been featured on music, motion pictures and the visual at Berkeley High, in the school’s influ- hundreds of recordings as a bassist, arts. Mr. Gascon represents artists, ential Jazz Ensemble. bennygreenmu- played at major jazz festivals including composers, bands and independent sic.com the Monterey and Playboy Jazz record labels in the negotiation of Alan Hall / Drums Festivals, performed at jazz clubs distribution, management, publishing, (Associate Professor, part-time) nationwide including The Blue Note in production and recording agreements Advisor, Drum Program. Former assis- NYC, Jazz Bakery and Baked Potato in as well as the licensing of compositions tant professor at Berklee College of LA, and has done musical theatre pit and master recordings for use in Music; adjunct faculty at UC Berkeley; orchestra work including local and commercials, motion pictures, television clinician; author; performed with Ernie touring productions of Billy Elliot and and videos. A partial listing of his clients, Watts, Paul McCandless, Eddie Harris, The Lion King. As a producer and past and present, includes Dave Binney, Bruce Wilamson, Art Lande, Tom recording engineer, he has recorded Don Byron, Jim Campilongo, Dave Coster, Kit Walker, Rebecca Parris, Kai hundreds of albums for artists reaching Douglas, Marty Ehrlich, Wayne Horvitz, Eckhardt, Stuart Hamm; artist endorse- the highest spots on the Jazz radio Hot Club of San Francisco, Andy Laster, ment with Zildjian Cymbals, Vic Firth charts, regularly working out of his own Kate McGarry, Myra Melford, Mick Rossi, Sticks, Aquarian Accessories. studio, What’s For Lunch? Recording in Kendra Shank, Edward Simon, Tin Hat jazzdrumming.com El Cerrito, as well as Fantasy and Cuong Vu. In addition, Mr. Gascon Studios in Berkeley. is a board member of Rova:Arts, the Peter Horvath / Piano non-profit organization of the Rova (Adjunct Professor, part-time) Mimi Fox / Guitar Saxophone Quartet. zentlawgroup.com MA, Berklee College of Music; (Associate Professor, part-time) Bela Bartok Conservatory of International recording/performing John Gove / Trombone Music, Budapest, Hungary; Vienna artist and five-time DownBeat (Full Professor, full-time) Conservatory of Music. Performed, Magazine International Critics Poll MM and BM in Jazz Composition and toured, recorded with Victor Bailey winner. Performed throughout Performance, Eastman School of Music; Group, Bobby Hutcherson, Joe Europe, Asia, the Caribbean and winner of two Downbeat awards for Henderson, Lalah Hathaway, Oakland Australia. Festivals include Montreal, composition and arranging. Director Symphony, Bob Sheppard, Bennie Monterey, Guinness Cork, Perth and of Jazz Studies at Laney College. Maupin, Richie Cole, Ray Obiedo; North Wales International Jazz Guitar Has performed and/or recorded as a arranged and recorded for Aretha Festival. Adjunct professor of Jazz trombonist with Terence Blanchard, the Franklin. peterhorvath.com Studies at NYU; guest clinician/artist in Mingus Dynasty, Maria Schneider, Tony residence at Alaska Jazz Workshop, Bennett, Diana Krall, Dr. John, Peter Erik Jekabson / Trumpet Britt Music Festival, Yale U., CalArts, Gabriel, Huey Lewis, Smashmouth. His (Associate Professor, part-time) Cornish College of the Arts, U. of arrangements have been commissioned MA in Composition, SF Conservatory Oregon, USC and Berkeley College and performed by such artists as Ledisi of Music; B Mus. in Trumpet, Oberlin of Music; featured artist on Marian with the Count Basie Orchestra and the Conservatory of Music. Toured with McPartland’s Piano Jazz on NPR; SFJazz All Stars. John Mayer, Illinois Jacquet and featured artist, Kennedy Center. Galactic, and has composed for film Performed with Charlie Byrd, Kenny Benny Green / Piano and dance projects. Recorded a solo Burrell, Branford Marsalis, David (Visiting professor, on occasion) album Intersection on Fresh Sound/ Sanchez and Diana Krall. A member of Art Blakey’s famed Jazz New Talent label. Currently teaches mimifoxjazzguitar.com Messengers, Benny Green served as at Berkeley City College and Los star side man with such notables as Medanos College. erikjekabson.com Betty Carter, Freddie Hubbard and Ray Brown. He has appeared on hundreds of recordings with them and with Oscar Peterson, Etta Jones, Milt Jackson, and Russell Malone, to name only a few. He formed his own trio in 1991, and has produced dozens of recordings, as a leader and with others, for Blue Note, Telarc and other labels. His most recent

44 FACULTY

Philippa Kelly / Literature; Ryan Kleeman / Audio Production Art Lande / Piano Chair, English Department (Associate Professor, part-time) (Visiting Professor, on occasion) (Full Professor, part-time) MFA in Sound Design and Audio Grammy-nominated recording PhD, University of Queensland, 1987; Engineering from University of Missouri- artist, internationally known pianist, BA Hons (1), 1982, University of Kansas City. Grammy-nominated audio composer, drummer and educator. Queensland. Commonwealth Scholar engineer, sound designer, and instruc- Has performed with Joe Henderson, (Oxford); Walter and Eliza Hall Scholar tor. Has engineered and co-produced Woody Shaw, Bobby Hutcherson, (Oxford); Fulbright Senior Fellow Bay Area artists including Christopher Steve Swallow, Charlie Haden, Kenny (UC Berkeley), Rockerfeller Fellow Willits, Tycho, The Living Earth Show, Wheeler, Sheila Jordan, Mark Isham, (Bellagio), Senior Common Room Silvia Nakkach, Christopher Eickmann, Paul McCandless, Jan Garbarek and Fellow (Oxford). Additional University Roma 79, Pleasuremaker, miRthkon, many others. Fellowships awarded by University and Future Twin among others. Also of New South Wales, Australian works as a recording, mixing and Jay W. Lehmann / Trumpet National University, University of mastering engineer at Overlap Studio, (Full Professor, part-time) Sydney. Australian Research Council Ghostcat Studios, and Studio Guapo. MA in Trumpet Performance, CSU East Large Grant Awardee (ARC). Vice Has taught at local recording schools Bay; BA in Music, UC Davis. California Chancellor’s award for Excellence in including The Art Institute of Lifetime Teaching Credential; Teaching (University of New South California – San Francisco and Chairman, Laney College Music Wales) and Bly Award for Innovation the Bay Area Video Coalition. Department; Director, Laney Summer in Dramaturgy (Literary Managers Music Program; performed at the and Dramaturgs of the Americas). Laura Klein / Alexander Technique Monterey Jazz Festival and with Don Resident Dramaturg at the California (Associate Professor, part-time) Menza, Bill Watrous; studied with John Shakespeare Theater, Professor in BA in Music, SUNY Buffalo. Jazz Cage. laney.peralta.edu Dramaturgy and Adjunct Professor in Studies at Berklee College of Music. Renaissance Literature at UC Berkeley Certified Teacher of the Alexander Jason Levis / Drums, Composition (Osher Lifelong Learning Institute); Technique, Center for the Alexander (Full Professor, part-time) professor at San Francisco State Technique, AmSAT, STAT. Instructor Ph.D. and M.A. inf Composition, University. Professorial instructor for of Alexander Technique, UC Berkeley UC Berkeley; B.A. in Music, Naropa university women in Saudi Arabia, Music Department 150 Program. University. Two-time Meet the Panel Chair for Australia’s Endeavour Faculty, Bay Area Center for the Composer award recipient; Eisner Commonwealth Government grant Alexander Technique (Teacher Training Prize for Music winner; Outstanding system. Has published 12 books, Course), 2001-08. Private practice Graduate Student Instructor (UC 70 articles. teaching the Alexander Technique Berkeley); Interaktion Festival final- in Berkeley since 1987. Taught piano ist (Berlin), drummer and composer Alam Khan / North Indian Sarode and jazz ensembles at SF Community Jason Levis has led and been a col- (Adjunct Professor, part-time) Music Center and piano at Berklee laborator in numerous jazz, impro- International performing artist and son Private Studies. Active jazz pianist/ vised music, and chamber ensembles of the legendary sarode maestro Ali composer; five recordings; currently in the San Francisco Bay Area and Akbar Khan. Instructor of advanced co-leader of FivePlay Jazz Quintet. Berlin, Germany. These include the instrumental and vocal classes at the lauraklein.net Heftpistole Chamber Ensemble; duo Ali Akbar College of Music. Trained at B.; Married Couple; DRY; live dub- the Maihar Senia Gharana and under Janet Kutulas / Voice reggae ensemble Joseph’s Bones; the mentorship of has father, Khan has (Adjunct Professor, part-time) the Echo Chamber Ensemble; most toured worldwide both as an accom- BM, San Francisco Conservatory of recently the Berlin Boom Orchestra, panist and leader and has established Music,1988. Music Director, KITKA and many more. Through these himself as Ali Akbar Khan’s true heir Women’s Vocal Ensemble. Trained avenues he has produced, composed and the face of a new generation of with Bulgarian singers Tzvetanka and arranged for, performed in, and sarode players. He has performed Varimezova, Kremena Stancheva, released over two-dozen records, with India’s tabla masters Swapan and Ukrainian singer Mariana bridging a multitude of musical styles. Chaudhuri, Zakir Hussain and Anindo Sadovska, and others. Awarded a He is an active performer on the drum Chatterjee, and with a wide array of Hertz Fellowship from UC Berkeley. set in both art and popular music set- artists from different genres such as Performed with A.C.T.; Le Mystère tings and has extensive national and Derek Trucks, Susan Tedeschi, Bob des Voix Bulgares; Linda Tillery international performance experience. Weir, Rob Wasserman, Christopher and the Cultural Heritage Choir; jasonlevismusic.com Hedge, Homayoun Sakhi, underground Marcel Khalife; and on Prairie Home hip-hop legend Eligh and electronic Companion. Performed as a flutist with musicians Amplive and Janaka Selekta. the Berkeley Symphony, California He was recently in the film “Play Like a Symphony, the Civic Orchestra of Lion,” which tells the story of his musi- Chicago and the Illinois Philharmonic. cal journey, as well as his father’s. As a founding member, played for 15 years with EARPLAY; also Composers Inc., Left Coast Chamber Players and in the SF Symphony’s New and Unusual Music Series. kitka.org 45 FACULTY

Frank Martin / Piano, Keyboards Aaron Mobley / Composition & Susan Muscarella / Piano (Adjunct Professor, part-time) Theory (Full Professor, part-time) (Full Professor, part-time) Music Director for Narada Michael DMA in Composition, University of PhD candidate in Musicology, Walden, Patti Austin, Angela Bofill; Arizona; MM in Composition/Theory, University of Évora, Portugal. BA in Carnegie Hall appearances with Carnegie Mellon University; B Mus. Music Composition, UC Berkeley. Sting, James Taylor, Elton John; Record in Composition/Theory, Southern Founding President and Dean of producer/arranger for Al Jarreau, Methodist University. Aaron Mobley is Instruction, CJC, Inc. Director, UC Turtle Island String Quartet, Joey a composer/pianist and the Head of Jazz Ensembles program 1984 – 89; DeFrancesco, Mimi Fox, Mary Jenson, Music Studies at Berkeley City College composer, arranger and recording Molly Holm, Deuce, Tuck & Patti, Karen in addition to his role as faculty and artist; performances at major clubs and Blixt; performed/recorded with John author in musicology/theory with the festivals including Yoshi’s, Keystone McLaughlin, Buddy Montgomery, Joe American Culture and Ideas Initiative Korner, Great American Music Hall Farrell, Dizzy Gillespie, Larry Coryell, at the Fred Fox School of Music, and the Lighthouse, and Monterey, Herbie Hancock, Stanley Jordan, Stevie University of Arizona. Recipient of Berkeley and Concord Jazz Festivals; Wonder, Airto, Dori Caymmi, Dianne several distinguishing awards includ- featured on Marian McPartland’s Piano Reeves, Patrice Rushen, Trilok Gurtu, ing an Andrew W. Mellon Foundation Jazz on NPR; recipient of a 2008 “A Richard Bona; Faculty, UC Berkeley Fellowship in the Arts, a National Team” Award from the Jazz Journalists Jazz Ensembles. Endowment for the Humanities grant, Association; former member of the frankmartinproductions.com and a software research associ- Board of Directors, Chamber Music ate’s award in the Machine Learning America. cjc.edu Jeff Marrs / Drums Department at Carnegie Mellon (Associate Professor, part-time) University’s School of Computer Ricardo Peixoto / Guitar BA and MA in Jazz Performance from Science. Dr. Mobley’s electro-acoustic (Associate Professor, part-time) The New England Conservatory; works compositions appear on the Architects Originally from Rio de Janeiro, Brazil, regularly with Marcus Shelby Jazz & Heroes | A Digital Art Collective label came to the US on scholarship to Orchestra, The Mel Martin Quartet, and have been featured in concert, attend Berklee College of Music in The “Dynamic” Ms. Faye Carol; has film, dance, and art installations. Boston, graduating with a B.M. in performed with Dr. Lonnie Smith, Performance and including stud- Marc Cary and George Russell; part- Hafez Modirzadeh / Theory, ies with Pat Metheny, Gary Burton time faculty member, Los Medanos Saxophone and Mick Goodrick. In the Bay Area College, Diablo Valley College, and (Adjunct Professor, part-time) studied classical guitar with George UC Berkeley. PhD, Wesleyan University (1992), for Sakellariou. Ricardo’s fluid melodic his original “chromodal” approach to style and keen compositional sense Paul Mehling / Guitar, Tenor & jazz. Since 1998, Professor of World explore Brazil’s rich and diverse tradi- Plectrum Banjo, Violin, Viola, Bass Cultures Program at SF State’s School tions while incorporating elements (Associate Professor, part-time) of Music and Dance. 1989, ‘91 NEA of jazz and classical guitar, placing Leader of the Hot Club of San Jazz Fellow, and 2006 Fulbright Senior him among the top representatives Francisco; international touring Lecturer to work with Gnawan and of Brazilian guitar in the US today. and recording artist. “Godfather of Flamenco musicians in Morocco and Recorded, performed, and col- gypsy jazz in America (according to Andalucia. An international per- laborated with Claudia Villela, Flora PBS)”; producer of CD recordings forming/recording artist and educa- Purim and Airto, Bud Shank, Dom Um and Instructional DVDS for guitar; tor, Modirzadeh has worked with Romão, Sivuca, Claudio Roditi, Raul International Association of Jazz Don Cherry and Peter Apfelbaum’s de Souza, Toots Thielemans, Dori Educators award-winner. HCSF.com Hieroglyphics Ensemble, Ornette Caymmi, Guinga, Arturo Sandoval, Coleman, John Handy, Zakir Hussein Spok, Jovino Santos Neto, Marcos and Mark Izu’s Circle of Fire, Steve Lacy Silva, Almir Côrtes, Rogério Souza, and Anthony Brown’s Asian American Terra Sul, and the Berkeley Choro Orchestra, Oliver Lake, James Newton, Ensemble among others. Has per- Leo Smith, Omar Sosa, and many Asian formed throughout the US, Europe, and Asian American artists including Canada, Japan and Brazil. Teacher Fred Ho, Danongan Kalanduyan, Akira and lecturer at California Brazil Camp Tana, Kenny Endo, Francis Wong and and Jazz Camp West, and has taught Asian Improv Arts. at the California Jazz Conservatory (F.K.A the Jazzschool) for the last several years.

46 FACULTY

Reto Peter / Audio Production Joyce Pricco / Voice Brian Rice / Percussion (Full Professor, part-time) (Associate Professor, part-time) (Associate Professor, part-time) Sound engineer and music producer Master of Music. Music Education, Co-chair, Brazilian Jazz Studies music for 20 years at prestigious stu- Boston University; Bachelor of Music, Department dios in Boston, New York, Switzerland Music Education-Voice, San Francisco B.M. in Percussion and and the San Francisco Bay Area. Reto State University; Certificate of Ethnomusicology, Oberlin earned a Bachelor Degree in Music Completion, Multimedia Studies, Conservatory of Music. Acclaimed from Berklee College of Music in Diablo Valley College. Bay Area international performer/clinician, and Boston, where he focused on Music freelance musician, 20+ years in recording artist adept at both Brazilian Production and Engineering. He has venues throughout the Bay Area; and Afro-Cuban percussion among been part of multi-platinum albums private instruction since 1978; others. Lecturer at UC Davis teaching including Green Day, The Counting instructor at Diablo Valley College Samba Bateria, and teaches perfor- Crows, Flipsyde, Mickey Hart and and Bradley School of Music; music mance labs for the Music of Brazil many chart-topping artists from his director at St. Michael and All Angels lecture at UC Berkeley. Brian has native Switzerland. In 2011, he joined Episcopal Church. performed and/or recorded with Mike the faculty at the Art Institute of Marshall, Jovino Santos Neto, Spok, California, San Francisco, to assist Evan Price / Violin Clarice Assad, Paulo Sergio Santos, with curriculum development and (Associate Professor, part-time) Danilo Brito, Dudu Maia, Chico teach advanced recording and A native of Detroit, MI. Roots in Pinheiro, Alessandro Penezzi, Jorge mixing techniques. square dance bands, string quar- Alabe, Almir Côrtes, João Paulo tets, and blues bands. Attended The Amaral and Rogerio Souza. Brian is Chico Pinheiro / Guitar Cleveland Institute of Music and the the co-founder and artistic director (Visiting Professor, on occasion) Berklee College of Music. Performing of the Berkeley Festival of Choro and BA in Professional Music from member of the two-time Grammy®- the founder and director of Samba Berklee College of Music (Summa award-winning jazz ensemble Turtle Seattle, and AfroCuban Folkloric Cum Laude). Native of Sao Paulo, Island Quartet, which has released Collective in Seattle. Clinician at Brazil, studied with legendary teachers five albums, performed internation- Oberlin, Cantareira College (São Mick Goodrick and Hal Crook and ally, and collaborated with Paquito Paulo) and University of Campinas, earned several academic awards. D’Rivera, The Ying Quartet, Dr. Billy Percussive Arts Society International International performing artist and Taylor and Kenny Barron, and Sergio Convention, Stanford University, one of the leading figures in modern and Odair Assad. Performing member Southern Oregon University, University Brazilian music. Also a composer/ of the gypsy jazz band The Hot Club of Washington, Indiana University, arranger whose recordings have of San Francisco, which has released Queens College and others. been included in the “Top 10 six albums, and performed nation- Brazilian Albums of the Year.” ally and internationally. Composer Glenn Richman / Bass Performed and recorded with and arranger with HCSF, Turtle Island (Associate Professor, part-time) Rosa Passos, Chico César, Dori Quartet, Quartet San Francisco, Mannes School of Music (1 yr); and Danilo Caymmi, João Donato, Providence String Quartet, Irish fiddler Berklee College of Music (2 yrs). Johnny Alf, Luciana Souza, César Liz Carroll, Orchestra Nashville, The Advisor, JCMS Bass Program; student Camargo Mariano, Dianne Reeves, San Francisco Girls’ Chorus, and of Buster Williams, George Mraz Bob Mintzer, Roberto Fonseca, the New Century Chamber Orchestra. and Mike Longo; performed with Cachaíto Lopez, Brad Mehldau, Former member of the music faculty Bobby Hutcherson, Jon Hendricks, Esperanza Spalding, Fleurine, Mark at Wellesley College. Dave Liebman, Chet Baker, Benny Turner, Chris Potter, Eddie Gomez, Green, Dakota Staton, Chris Connor, Claudio Roditi, Duduka da Fonseca Jackeline Rago / Cuatro, Tom Harrell, Eddie Henderson, John and Giovani Hidalgo. Afro-Venezuelan Percussion Hicks, Mike Clark, Jack Wilkins, Billy (Adjunct Professor, part-time) Hart, Larry Willis, George Coleman Multi-instrumentalist, national and and Mickey Roker; faculty, Brubeck international performer, composer, Institute, UC Berkeley and Chabot arranger, educator; Music Director, College. Venezuelan Music Project; awarded CAC Artist In Residence Grant. jackelinerago.com

47 FACULTY

Yoriko Richman / Eurhythmics John Santos / Percussion Edward Simon / Piano (Associate Professor, part-time) (Associate Professor, part-time) (Associate Professor, part-time) B.A. Piano and Music Education, Percussionist, producer, composer, Pianist Edward Simon is a McDowell Musashino Academia Musicae, recording artist, writer and historian. and Guggenheim Fellow, international Tokyo; Dalcroze Teacher’s License, Multi Grammy nominee (5); Founder performing artist and educator. He has Dalcroze School of Music, New York; and Director, The Machete Ensemble, served on the faculty at the New School Professional Studies Certificate, 1985 – 2006; performed and/or for Jazz and Contemporary Music, Berklee College of Music, Boston; recorded with Dizzy Gillespie, Tito the City College of New York and the Studied with Madeleine Duret, Institut Puente, Santana, Cachao, Eddie University of the Arts and currently Jaques-Dalcroze, Geneva; Dalcroze Palmieri, Max Roach, McCoy Tyner, teaches piano and improvisation at the Instructor, Mannes College of Music Steve Turre, Bobby Hutcherson, New School for Jazz and Contemporary Preparatory Division and Showa Lalo Schifrin, James Moody, The Latin Music in New York. Mr. Simon has Academia Musicae, Yokohama, Japan; Giants of Jazz, Omar Sosa, Buena Vista taught master classes and clinics at Collegiate Faculty, San Francisco Social Club, Batacumbele, Lázaro Ros, music conservatories and universities Conservatory of Music; Dalcroze Francisco Aguabella, Armando Peraza, around the world. He has twice earned Instructor, San Francisco Girls El Conjunto de Clave y Guaguancó, the Certificate of Appreciation for Chorus. John Faddis, and Mark Murphy. Outstanding Service to Jazz Education Lectured and/or offered residencies from the International Association for Rita Sahai / Voice at the Berklee School of Music, Yale, Jazz Education (1999, 2004), has been a (Adjunct Professor, part-time) UCLA, Whittier College, Michigan member of SF Jazz Collective since 2010 Performing artist, educator and com- State, U. of Wisconsin at Madison, and is currently a member of the Ninety poser. A native of Allahabad, India, the Dillard U., UC Berkeley, Miles ensemble lead by Stefon Harris, disciple of renowned vocalist Pandit UC Sacramento, UC Santa Cruz, David Sanchez and Nicholas Payton. Rama Shankar Mishra, specialist in UC Monterey Bay, San Jose State U., Mr. Simon is a Yamaha Artist. the Benares Gharana style. Student SF State U., Humboldt State U., and of sarod maestro Ustad Ali Akbar Brigham Young U., as well as through- John Stowell / Guitar Khan focusing on the Seni Allaudin out Europe and Latin America. (Visiting Professor, on occasion) Gharana style. Performed throughout Currently on faculty of the College Thirty years of freelance experience the United States, Canada, United of San Mateo, Jazz Camp West, and teaching and playing internationally, Kingdom and India, recorded several director of the highly acclaimed John adjunct faculty at numerous colleges in solo CDs, and collaborated on major Santos Sextet. the Pacific Northwest, published author recording projects with Grammy (Mel Bay and Truefire), contributing Award-winning artist Béla Fleck, and Dave Scott / Trumpet columnist (Guitar Player, DownBeat, renowned choreographer, Alonzo (Adjunct Professor, part-time) Canadian Musician, etc.), ten CDs King. Currently on faculty at the Ali MA in Trumpet Performance, U. of as a leader, twelve as a co-leader. Akbar College of Music. Northern Colorado; BA in Instrumental Performance credits include Paul Horn, Music, U. of Michigan. National Milt Jackson, Lionel Hampton, Dave Jim Santi Owen / Indian Percussion performing and recording artist, Liebman, Billy Hart, Don Thompson (Associate Professor, part-time) jazz, classical idioms; lead trumpet, and Pete Christlieb. johnstowell.com MA in World Music, CalArts. Trained Contemporary Jazz Orchestra, The in Indian percussion under Pandit Realistic Orchestra, Marcus Shelby Akira Tana / Drums Swapan Chaudhuri, T.H. Subash Jazz Orchestra; performs with Boz (Adjunct Professor, part-time) Chandran, and K. Sekar. Student of Scaggs, Glide Memorial Church BM in Percussion, New England Charlie Haden, James Newton, and Change Band, Brass Monkey Band; Conservatory, 1979; BA in East Asian Tootie Heath, and African drumming founder of Trumpet Supergroup, Dave Studies, Harvard University, 1974. and dance from the Ladzekpo Scott Jazz Quartet. davescott.org Performed with jazz greats Sonny Brothers. Performed with Pharoah Rollins, Sonny Stitt, Zoot Sims, Hubert Sanders, Alonzo King, Hamza el Din, Marcos Silva / Piano Laws, Milt Jackson, Jim Hall, Art Farmer, Mickey Hart, Alam Khan, George (Associate Professor, part-time) The Paul Winter Consort, Paquito Brooks, Steve Smith, Chitresh Das, Co-chair, Brazilian Jazz Studies D’Rivera, James Moody, J.J. Johnson, Gamelan Sekar Jaya, and Jai Uttal Department Lena Horne, and The Manhattan among others. On faculty at the National and international perform- Transfer, among others. Performed Ali Akbar College of Music, the CJC, ing and recording artist, composer, at the Tanglewood Festival under the Dominican University, and Lines arranger, producer, educator; per- direction of Leonard Bernstein, Seiji Ballet School and is currently the formed with Leny Andrade, Emilio Ozawa and Gunther Schuller and has Musical Director of the San Francisco Santiago, Marcio Montarroyos, accompanied diverse artists such as World Music Festival. Jon Lucien, Claudio Roditi; Music Charles Aznavour, Maurice Hines and jimsantiowen.com Director, arranger, keyboards for Flora Van Dyke Parks. Teaches privately and at Purim, Airto, Toninho Horta, Paquito San Francisco State University. Conducts D’Rivera, Bud Shank, Ricardo Silveira, clinics and master classes through- Dori Caymmi, Nana Caymmi, Danilo out the country sponsored in part by Caymmi, Edu Lobo, Joyce; leader, Yamaha Drums and Vic Firth Sticks. Marcos Silva and Intersection. www.akiratana.com

48 FACULTY

Sheryl Lynn Thomas / Suzy Thompson / Violin Mads Tolling / Violin, Viola Business of Music — Marketing (Associate Professor, part-time) (Associate Professor, part-time) (Associate Professor, part-time) International performing and Arhoolie Internationally renowned violin- MS in Entertainment Business, Full recording artist, who has performed ist, violist, and composer. Two-time Sail University; BA in Drama from San with Jim Kweskin, Bruce Molsky, Grammy award-winner with the Turtle Francisco State U. with emphasis on Michael Doucet, Alice Gerrard and Island Quartet. As violist with the Musical Theater. Digital Marketing many other folk artists; residency/ quartet, 2003–2007 and now as first Manager, Jazzschool Inc.; Marketing guest lecturer at Berklee College of violinist, 2007–present, Mads main- and Publicity Director, Patois Records; Music, U.C. Berkeley, E. Tennessee tains an active touring and recording Latin jazz and world music recording State University, College of Wooster; schedule as well as composing and artist; award recipient and honorary Emeritus Artistic Director of Festival giving master classes. Tours as jazz member of the International Thespian of American Fiddle Tunes; Founder violinist with the acclaimed bassist Society; vocal and acting training and Director of Berkeley Old Time Stanley Clarke and his touring band. with San Francisco Academy for The Music Convention; reviewer for the In 06 and 08 as part of Turtle Island Performing Arts, Seydways Acting Old Time Herald, contributor to Quartet, Mads won two Grammy Studio and John Howard Swain. Fiddler Magazine; faculty: Augusta awards for Best Classical Crossover fantabulousink.com Heritage Center Cajun-Creole Week album with the recordings “4+Four” and Old-Time Week, Puget Sound and “A Love Supreme — The Legacy Eric Thompson / Guitar Guitar Workshop, Alabama Folkschool, of John Coltrane.” Tolling has received (Associate Professor, part-time) California Bluegrass Association Camp, Denmark’s Sankt Annae’s Award for B.A., University of California, Berkeley. Blues in the Gorge, many others. Musical Excellence as well as grants Since 1962, international performing, from Queen Margaret, the Sonning recording and teaching guitarist/ Linda Tillery / Voice Foundation and the Berklee Elvin mandolinist, who has worked with David (Associate Professor, part-time) Jones Award. He has performed Grisman, Mike Seeger, the Charles River Grammy-nominated vocalist, producer, with Paquito d’Rivera, Kenny Barron, Valley Boys and many others. Faculty at percussionist, arranger, educator and Joe Lovano, Stefon Harris, Sergio & Puget Sound Guitar Workshop, David cultural historian. Performed with Odair Assad, Leo Kottke and Russell Grisman’s Mandolin Symposium, Kamp iconic bands Cream, Iron Butterfly, Ferrante. Kaufman, Alabama Folkschool, Festival Vanilla Fudge, Big Brother and of American Fiddle Tunes, Montana the Holding Company, Albert King, Dillon Vado / Vibraphone / Drums Fiddle Camp, and many others. B.B. King, Santana, Taj Mahal, Mother (Instructor, part-time) Teaching videos and instructional Earth, Jeff Beck and a long list of B.M. in Jazz Studies, California Jazz books released by Stefan Grossman’s Rock and Roll luminaries. Founding Conservatory (in progress). Has Guitar Workshop and Mel Bay. member of Bobby McFerrin’s performed with Art Lande, The Marcus Voicestra. A central figure in the Shelby Jazz Orchestra, Jeff Denson, Scott Thompson / Bass Oakland’s R&B and funk scene and Alan Hall, Paul Hanson, John Gove, Erik (Instructor, part-time) the emerging genre of Women’s Jekabson, Mike Zilber and Mads Tolling B.M. In Jazz Studies, California Jazz Music. She has appeared on over as well as in various musicals and the Conservatory in progress. National and 70 recordings by such artists as Santa Clara Vanguard. Has studied with international performing and recording Carlos Santana, Boz Scaggs, Pete Christian Tamburr, Jason Lewis, David artist. Has performed/recorded with and Sheila Escovedo, Taj Mahal, Flores and Alan Hall. Has taught Chico Pinheiro, The Hieroglyphics, Vicki Randle, Eric Bibb, Mickey Hart, vibraphone and drums in both group Souls of Mischief, Cesar Carmago Bobby McFerrin, Linda Ronstadt, and private lesson settings for over Mariano, Helio Alves, Thomas Pridgen, Huey Lewis & The News, The five years. E-40, Too $hort, Kiko Freitas, Ana Whispers, Holly Near, Turtle Island Gasteyer (Saturday Night Live), Marcos String Quartet and Keith Terry’s Arjun Verma / Sitar Silva, Toninho Horta, Urban Punk, percussion ensemble, Crosspulse. (Associate Professor, part-time) Latoya London (American Idol), Spok, Formed the six-member Cultural BA in Psychology with a thesis in Oakadelic, Jovino Santos Neto, Rafael Heritage Choir — a percussion- music learning techniques, Dominican Vernet, Tiago Costa, Dani Gurgel, driven vocal ensemble. An authority University of California. A student of Deborah Gurgel, Thiago Rabello, on the African Diaspora in song. Her sarod maestro Ustad Ali Akbar Khan. Mauricio Zottarelli, Rafael Barata, Vitor current mission is to help preserve Recipient of the prestigious Shenson Gonçalves, Mark Levine, Ian Faquini, and share the rich musical traditions Fellowship from the San Francisco Paula Santoro, Claudia Villela, Frank of African American roots music. Foundation. Performed throughout Martin, Jeff Buenz, Harvey Wainapel, the US and Europe including the Jeff Cressman, Sandy Cressman, United Nations in Geneva, Switzerland, and Tulio Araujo, among others. the New School in New York City and Has taught at Festival Instrumental Prague Castle in Prague, Czech de Teresina in Brazil, Helsinki Music Republic. Currently on faculty at Centre in Finland, California Brazil the Ali Akbar College of Music. Camp, Jazz Camp West, Lafayette Summer Music Workshop, Stanley Middle School, private lessons, work- shops, ensembles, master classes, among others. 49 FACULTY

Claudia Villela / Voice Katherine Westine / Piano (Instructor, part-time) (Associate Professor, part-time) B.A. in Music Therapy, Brazilian Post-graduate studies in Early Music, Conservatory of Music, Rio de Norddeutsche Orgelakademie, Faculty Rankings Janeiro. A native of Rio de Janeiro, Bremen, Germany; MA in Organ an award-winning singer/songwriter/ Performance, Lone Mountain Full Professor: Resident faculty holding improviser/arranger who has per- College, San Francisco; BA in Music a Ph.D. or demonstrating the equivalent. formed and recorded with Michael History, U. of Washington, Seattle. Widely recognized performers and/or Brecker, Toots Thielemans, Kenny Co-producer, Florio Street Concerts. academicians in the field of jazz who teach Werner, Toninho Horta, Guinga, on a regular basis. Dori Caymmi, Airto Moreira, Carlos Jeffrey Wood / Chair, Malta, Romero Lubambo and Ricardo Audio Production Associate Professor: Resident Peixoto among others. A specialist in (Full Professor, part-time) faculty holding a Master’s degree voice, piano and Brazilian percussion, BA in Psychology and Business, or demonstrating the equivalent. Villela has released 5 albums. In 2008, University of Illinois. Studio Director, Widely recognized performers and/or she received a prestigious commis- Fantasy Studios in Berkeley, CA. academicians in the field of jazz who teach sion from NYU to set Latin American International music producer, on a regular basis. poems to music. Villela has served on engineer, composer, and label Adjunct Professor: Resident faculty the faculty of California Brazil Camp consultant for over 25 years. Has holding the minimum of a Master’s and teaches workshops in Brazilian worked for labels including Warner degree or demonstrating the equivalent. music on a regular basis. Brothers, Reprise, Virgin, Chrysalis Widely recognized performers and/or and Polygram. Has produced music academicians in the field of jazz who teach Marc van Wageningen / in eleven languages in studios on occasion. Electric Bass throughout the US and Europe with (Associate Professor, part-time) artists including the Housemartins, Instructor: Resident faculty holding San Francisco Bay Area electric bass- Luka Bloom, Penelope Houston, the minimum of a Bachelor’s degree ist and recording artist specializing among others. Has also co-produced or demonstrating the equivalent. in funk, Latin and jazz. Performed “Approx–imately Nels Cline,” a Widely recognized performers and/or with Diane Reeves, Tower of Power, nationally released film by Academy academicians in the field of jazz who give Pee Wee Ellis/Maceo Parker, Steve Award-winner Steven Okazaki, applied lessons on a regular basis. Smith, Stan Getz,George Duke, examining the creative process in Francisco Aquabella, Pete Escovedo, the recording studio. Visiting Professor: Non-resident, nationally Eddie Marshall, Sheila E. and the E. or Internationally renowned performers Train and Andy Narell among others. Michael Zilber / Saxophone and/or academicians who teach on Recorded with Steve Winwood, Sheila (Full Professor, part-time) occasion. E., Tom Grant, David Garibaldi, Pete PhD in Composition, NYU; MM Escovedo, Ray Obiedo, Linda Tillery, in Composition, Tufts U.; B Mus. i Cornelius Bumpus and Teresa Trull and n Composition, New England Faculty Classifications Barbara Higby. Served as house band Conservatory. National and interna- member for The Wayne Brady Show, tional performing and recording Full-time: A course load of 12 classroom But Can They Sing and The One. Marc artist, composer, arranger, educator; hours / week and a load of up to 18 private has a debut recording out under the performed with Dizzy Gillespie, studio instruction hours / week taught on a VW Brothers name titled “Muziek” on Sonny Stitt, Dave Liebman, Miroslav consistent basis by resident faculty. Patois Records. Vitous, Bob Berg, Eddie Henderson, Fareed Haque, Geoffrey Keezer, Part-time: A course load of less than 12 Harvey Wainapel / Saxophone Donald Harrison, John Handy, Dave classroom hours / week and up to 18 private (Visiting Professor, on occasion) Douglas, Rachel Z, James Genus, studio instruction hours / week taught on a National and international record- Narada Michael Walden, Barry consistent basis by resident faculty. ing/performing artist. Studied at Finnerty, Steve Smith and Bruce Berklee College of Music. Performed Barth. michaelzilber.com Adjunct: A course load of less than 12 with jazz pianists Kenny Barron and classroom hours / week taught on an McCoy Tyner, tenor saxophonist Dann Zinn / Saxophone, Flute intermittent basis by resident faculty. Joe Henderson and drummer Billy (Associate Professor, part-time) Hart. Toured with Joe Lovano and BA Music Performance CSUEB, Instructor: An indeterminate course load Ray Charles. A regular presence UCLA 3-time NFAA Outstanding of applied lessons taught on a consistent on the Brazilian music scene in the Teacher Recipient. Leader Dann basis by resident faculty. U.S. Recorded and performed with Zinn Band. Featured on over 40 Brazilian artists such as Duduka da CDs. Performed/Recorded with Joe Visiting: A course load of a determinate Fonseca, Marcos Silva and Claudia Henderson, Dave Eshelman, Jeff number of classroom hours / week taught Villela. Produced and recorded five Tain Watts, Mary Wells, Frank Harris, for a determinate period of time by non- albums as a leader. Barry Finnerty. Faculty CSUEB, UCB, resident faculty. and Brubeck Institute. dannzinn.com

50 CJC PRIVATE INSTRUCTION FACULTY

Students may select a private instructor from the following list of Approved Private Instruction Faculty. Note: Private Instruction faculty must be approved by the Dean of Instruction in advance.

BASS GUITAR SAXOPHONE Peter Barshay — [email protected] Danny Caron — [email protected] Paul Hanson – paulhansonmusic.com peterbarshay.com dannycaron.com Kasey Knudsen — [email protected] David Belove — [email protected] Steve Erquiaga — [email protected] kaseyknudsen.com Gary Brown — erquiaga.com Michael Zilber — [email protected] [email protected] Ian Faquini — [email protected] michaelzilber.com Jeff Chambers — [email protected] ianfaquini.com Dann Zinn — [email protected] jeffchambersjazz.com Mimi Fox — [email protected] dannzinn.com Jeff Denson — [email protected] mimifoxjazzguitar.com jeffdenson.com Jeff Massanari — [email protected] TROMBONE Kai Eckhardt — [email protected] jeffmassanari.com Rob Ewing — [email protected] kaizone.com Paul Mehling — [email protected] robewingmusic.com Glenn Richman — [email protected] HCSF.com John Gove — [email protected] glennrichman.com Brian Moran — [email protected] John Shifflett — [email protected] brianmoreanmusic.com TRUMPET johnshifflett.com Ricardo Peixoto — [email protected] Erik Jekabson — [email protected] Scott Thompson — Randy Vincent — [email protected] jekabson.tripod.com [email protected] randyvincent.com Dave Scott — [email protected] Marc van Wageningen — davescott.org CUATRO [email protected] Ian Carey — [email protected] vwbrothers.com Jackeline Rago — [email protected] iancareyjazz.com John Wiitala — jackelinerago.com [email protected] VIBRAPHONE PIANO — JAZZ Tony Miceli — [email protected] DRUMS Matt Clark — [email protected] vibesworkshop.com Jon Arkin — [email protected] Peter Horvath — [email protected] Dillon Vado – [email protected] jonarkin.net peterhorvath.com http://www.dillonvado.com Hamir Atwal — [email protected] Bob Karty — [email protected] hamirdrums.com bobkarty.com VIOLIN Alan Hall — [email protected] Grant Levin — Jeremy Cohen — [email protected] jazzdrumming.com [email protected] violinjazz.com Lorca Hart – [email protected] grantlevin.com Evan Price — [email protected] Jason Levis — [email protected] Frank Martin — [email protected] hcsf.com frankmartinproductions.com Jason Lewis — [email protected] Mads Tolling — [email protected] Jeff Marrs — [email protected] Susan Muscarella — [email protected] madstolling.com jeffmarrsdrums.com cjc.edu Akira Tana — [email protected] Marcos Silva — [email protected] VOICE marcossilva.com akiratana.com Laurie Antonioli — [email protected] Edward Simon — [email protected] laurieantonioli.com Phil Thompson — [email protected] edwardsimon.com Maye Cavallaro — Ben Stolorow — [email protected] PERCUSSION [email protected] benstolorow.com mzjazz.com Jackeline Rago — [email protected] jackelinerago.com Andrea Claburn — [email protected] PIANO — WESTERN EUROPEAN andreaclaburn.com Brian Rice — [email protected] CLASSICAL brianrice.com Sandy Cressman — [email protected] Katherine Westine — [email protected] cressmanmusic.com katastrophemusic.com Joyce Pricco — [email protected] Janice Maxie Reid — [email protected] janicemaxiereid.com Kalil Wilson — [email protected] kalilwilson.com

51 ABOUT THE CJC

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

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

• The Jazzschool A community music school, the Jazzschool fosters the development of the aspiring jazz musician of all ages and levels and builds audiences to sustain the jazz art form through a non-degree-granting education program integrating classes, short-term workshops, artists-in-residency, and public performance opportunities.

52 ABOUT THE CJC

2. Fostering High Ethical Standards • Implementing targeted community The CJC strives to foster high ethical outreach efforts and providing scholarship standards by: opportunities to deserving students in need of financial assistance. • Providing an environment that promotes the development of well-balanced, conscientious, • Providing a nurturing environment for compassionate, forward-looking individuals students, teachers, scholars and artists who will contribute to a just society. in the jazz field.

3. Honoring Historical and Cultural Heritage • Providing an inviting setting for family, The CJC strives to honor the historical and friends, and the greater music community cultural heritage of the jazz canon by: to celebrate students’ accomplishments and enjoy listening to jazz in its • Recognizing the historical and multicultural many forms. origins of jazz. 5. Developing Collaborations • Highlighting the prominent role the jazz The CJC strives to build relationships art form has played in shaping American and create collaborations with artistic history and culture. and educational constituencies by:

• Offering curricula designed to inform and • Providing access to local, national and develop an appreciation of the relationship global perspectives and new and meaningful between jazz and American culture and educational and artistic resources. the global jazz diaspora. • Creating opportunities for student and 4. Nurturing Diversity in All of its Forms faculty exchanges with music education The CJC strives to create a diverse, programs locally, nationally and internationally. all-inclusive, close-knit community by:

• Seeking and embracing the cultural richness of a diverse constituency of students, faculty, staff and greater music community.

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

53 ABOUT THE CJC

State Licensure As a prospective student, you are encouraged to review The California Jazz Conservatory is a private institution this catalog prior to signing an enrollment agreement. approved to operate by the Bureau of Private Postsec- You are also encouraged to review the School Perfor- ondary Education in the State of California as set forth in mance Fact Sheet, which must be provided to you prior the California Private Postsecondary Education Act of to signing an enrollment agreement. 2009 (CEC) and Title 5, Division 7.5 of the California Code of Regulations (CCR). The Act is administered by Facilities and Student Services the Bureau for Private Post­secondary Education, under The California Jazz Conservatory is housed in two the Department of Consumer Affairs. Bureau approval aesthetically pleasing, custom-designed facilities on means the institution is in compliance with and meets the Addison Street in the Downtown Berkeley Arts District, minimum standards pursuant to the California Private just across the street from one another. Postsecondary Education Act of 2009. At 2087 Addison Street, students have access to fully Bankruptcy Disclosure: the CJC has never filed a equipped classrooms (with pianos, drum sets, amplifiers bankruptcy petition, operated as a debtor in possession, and sound systems), practice rooms, a bookstore and an or had a bankruptcy petition filed against it. intimate performance space. The Jazzcaffè serves an assortment of panini, soups, salads, sweet breads and Accreditation espresso drinks. The California Jazz Conservatory is an accredited institutional member of the National Association of At 2040 Addison Street, our new campus expansion, Schools of Music (NASM). NASM is recognized by the Fiddler Annex, houses additional classrooms, practice United States Department of Education. rooms, a listening library, a 100-seat performance space and cafè, Jazzcaffè 2040. “NASM, founded in 1924, is an organization of schools, conservatories, colleges and universities with approxi- All CJC class sessions are held at 2087 and 2040 Addison mately 644 accredited institutional members. It estab- Street, Berkeley, California. The Fantasy Studios lishes national standards for undergraduate and graduate Internship Program is held at 2600 Tenth Street, degrees and other credentials.” nasm.arts-accredit.org Berkeley, California.

Please note: This program does not lead to positions in a Library profession, occupation, trade, or career field requiring Students have access to an extensive music collection licensure in the State of California. housed in the Art and Music Department at the Berkeley Public Library and the Jean Gray Hargrove Music Library Questions or Complaints on the University of California, Berkeley campus, Any questions a student may have regarding this catalog both located within walking distance of the CJC. that have not been satisfactorily answered by the Students will be given assistance with obtaining library institution may be directed to the Bureau for Private cards to both libraries. Postsecondary Education at: The Art and Music Department at the Berkeley Public Address Library. The scope of the music collection 2535 Capitol Oaks Drive at the Art and Music Department runs from Suite 400, Sacramento, CA 95833 Albinoni to Zouk — on compact disc, vinyl and score. P.O. Box 980818, West The rich jazz collection ranges from reissues of vintage Sacramento, CA 95798-0818 recordings to contemporary offerings from the next generation of jazz masters. Music from around the globe Web site address is available in the audio collection in all formats. bppe.ca.gov The CD collection, started in September 1985, now Telephone includes over 14,000 titles. The Art and Music Depart- (888) 370-7589 or Fax: (916) 263-1897 ment music collection also includes roughly 6,000 vinyl (916) 431-6959 or Fax: (916) 263-1897 records. Classical, opera, jazz, world, and popular music are represented. Printed music scores, a range of music A student or any member of the public may file a biographies and books on music theory and performance complaint about this institution with the Bureau are readily available. for Private Postsecondary Education by calling (888) 370-7589 (toll-free) or by completing a complaint form, The Art and Music Department subscribes to over forty which can be obtained on the Bureau’s internet web site: periodicals covering a variety of musical genres, specific bppe.ca.gov. instruments, and recorded sound. Their periodical collection also includes the impressive Greenwood Press jazz periodicals collection, a microfilm archive of the historical jazz periodical, containing reviews and events dating back to the 1920s.

54 ABOUT THE CJC

Electronic resources available through the Berkeley Student records are strictly confi dential. A student Public Library website allow patrons to listen online to wishing to disclose their educational record to any other recordings of classical and contemporary music from party must fi rst submit written proof of authorization to around the world. the Registrar and Custodian of Records. Authorization may be revised at any time throughout a student’s tenure The Art and Music Department can be found on the at the CJC. 5th fl oor of the Berkeley Public Library and is open Mondays, 12pm – 8pm; Tuesdays, 10am – 8pm; Wednes- Berkeley City College days, Thursdays, Fridays and Saturdays, 10am – 6pm; and Located at 2050 Center Street, just one block from the Sundays, 1pm – 5pm. Visit berkeleypubliclibrary.org for a CJC, Berkeley City College offers a wide range of complete schedule of holidays. courses that fulfi ll CJC General Studies requirements in English (6 credits), Humanities (6 credits), Mathematics Students may borrow up to 50 items at any given time (3 credits), and Elective requirements (5 credits). with their Berkeley Public Library card. Those items not available onsite may be acquired through Link+. See Department of General Studies for General Studies courses approved for transfer from Berkeley City Jean Gray hargrove Music library. Founded in 1947 College. Elective courses must be degree-relevant and as a branch of the University Library, the Music Library are accepted for transfer on a by-approval basis by was located on the second fl oor of Morrison Hall from the Dean of Instruction. For Berkeley City College 1957 until July 6, 2004, when the Jean Gray Hargrove course descriptions and class schedules, please visit Music Library opened to the public. Its collections today berkeleycitycollege.edu/wp/programs/class-schedules- contain some 180,000 volumes of books and printed and-catalogs/. music, 50,000 sound and video recordings, and 30,000 microforms in addition to extensive special holdings of The California Jazz Conservatory has not entered into manuscripts, rare materials, and archives. The collection a formal articulation or transfer agreement with serves the diverse teaching and research needs of Berkeley City College, or any other college or university, the UC Berkeley Department of Music, which offers a at this time. general undergraduate major and graduate programs in musicology, ethno musicology, and composition, as well as embracing a variety of performance activities.

The majority of materials in the Hargrove Music Library — with the exception of sound and video recordings, periodicals, microforms, and special collections — circulate for use outside the library. Borrowing materials requires a current UC Berkeley Library card. Borrowers must have a current library card issued by the Privileges Desk at Doe Library. Visitors are welcome to use collections on-site. lib.berkeley.edu/MuSI/collections.html record Keeping The California Jazz Conservatory Registrar and Custodian of Records maintains a secure fi le for each student that contains pertinent information including but not limited to: the Application for Admission; transcripts from the CJC and other institutions (including verifi cation of high school completion or the equivalency); documents evidencing a student’s prior experiential learning; class scheduling and registration; degree requirements and progress reports; attendance; grading; documents relating to tuition, fi nancial assistance and scholarships; records of the dates of enrollment, withdrawal, leaves of absence, suspension and/or dismissal from the institution and graduation; copies of any offi cial advisory notices or warnings regarding the student’s progress; results of juries or other examinations; copies of recordings programs, awards or other accomplishments of note; and/or evaluations, suggestions and/or complaints. The CJC shall maintain pertinent student records for a period of at least 5 years from the student’s date of completion or with- drawal. Transcripts documenting the completion of the degree will be maintained permanently. 55 ABOUT THE CJC general information

Admission Requirements To apply, visit cjc.edu/apply. Please send all supporting Both incoming freshmen and transfer students are materials including transcripts and letters of recommen- accepted into the CJC based on the following: dation. For those students living more than 150 miles 1. A completed application form including a personal from the CJC, please include samples of your playing. statement outlining your past accomplishments, future Send all material — along with a non-refundable $100 objectives and how and why you believe the CJC will Application Fee — to: help you realize them. California Jazz Conservatory 2. An official high school transcript. All students must Office of Admission have a satisfactory academic record and have earned 2087 Addison Street an overall GPA of 2.0 or higher to be admitted to the Berkeley, CA 94704 CJC. Photocopies are not accepted. Please note: the CJC does not accept ability-to-benefit students. Auditions 3. Official college transcript(s) if applicable. Please Note: All students applying for admission to the CJC must all students must have a satisfactory academic record audition prior to acceptance. Auditions are held on-site. and have earned an overall GPA of 2.0 or higher to be A live audition is required for all students living locally; admitted to the CJC. Photocopies are not accepted. pre-recorded performance samples on a DVD are 4. Two original letters of recommendation, at least one accepted in lieu of a live audition for students living more of which is from a professional musician and/or music than 150 miles from the CJC. After your completed educator familiar with your work and professional application has been received, the Registrar will contact objectives. Photocopies are not accepted. you to schedule your audition. 5. A live audition. Students living more than 150 miles Auditions are approximately 30 minutes in length and from the CJC may substitute a DVD of their playing in may be scheduled throughout the academic year. lieu of a live audition. (See Auditions, Audition Require- Students must be prepared to perform and improvise ments and Placement Examinations, next section.) over the following tunes of their choice: a medium-tempo 6. Results of the Ear Training and Sight Singing and Jazz 12-bar blues; a ballad; a Latin tune; and an up-tempo jazz Theory and Improvisation Placement Exams. (See tune. They will also be given a short selection to Auditions, Audition Requirements and Placement sight-read. Examinations, next section.) Please note: To be accepted into the Jazz Studies Placement Examinations degree program, students are expected to have: All students applying for admission to the CJC must take two placement examinations: Musicianship (Ear Training 1. A basic knowledge of music theory including: and Sight Singing), and Jazz Theory and Improvisation. • Major and minor scales and key signatures in both Placement exams are not graded: they serve to confirm treble and bass clefs basic required knowledge and skills, and determine • Major, minor, diminished and augmented triads appropriate placement appropriate placement in • Major, dominant and minor seventh chords the Musicianship and Jazz Theory series. Placement AND examinations are administered directly following the 2. Basic musicianship skills including: audition. The Musicianship placement exam is approxi- • The ability to identify simple and compound mately 30 minutes in length; the Jazz Theory and intervals and seventh chords by ear Improvisation placement exam is one hour in length. • The ability to take simple melodic and rhythmic dictation Tuition and Supplemental Fees • The ability to sight sing a simple melodic line • Tuition — Instrumentalists 7. For international students, an internet-based TOEFL (iBT) score. All instruction at the CJC occurs in English. Full-Time (12 credits and above / semester): A high level of English proficiency is required for $9,100 (including 1 credit of Private Instruction; admission. All non-native speakers must submit an not including Individual Tutorial or Trio Instruction) official score report from the Test of English as a Foreign Language (TOEFL) prior to enrolling. Part-Time (11 credits or fewer / semester): Applicants who have completed a 4-year degree $685 / credit (not including 1 credit of Private program at an English-speaking college or university Instruction/Individual Tutorial or Trio Instruction) may request TOEFL exemption. The CJC accepts Private Instruction / Individual Tutorial: internet-based TOEFL (iBT) scores only. Please do not $1,575 / credit submit paper-based TOEFL (pBT) scores. Applicants must receive a score of 75 or higher to be admitted Trio Instruction: $1,050 / credit into the CJC. TOEFL scores are valid for two years after the test date and there is no limit to the number of times the test may be taken. 56 GENERAL INFORMATION

• Tuition — Vocalists • Enrollment Deposit New students are required to pay a non-refundable Full-Time (12 credits and above / semester): Enrollment Deposit of $100 at the time of their accep- $9,400 (including Private Instruction; not tance into the program. Returning students are required including Individual Tutorial or Trio Instruction) to pay a non-refundable Enrollment Deposit of $200 on or before June 1, prior to each fall semester, and on or Part-Time (11 credits or fewer / semester): before December 1, prior to each spring semester. The $685 / credit (not including 1 credit of Private Enrollment Deposit is credited to students’ tuition for the Instruction/Individual Tutorial or Trio Instruction) upcoming semester. A late fee of $100 per month will Private Instruction / Individual Tutorial: apply to an Enrollment Deposit made after the due date. $1,575 / credit • Course Materials Trio Ensembles: $1,050 / credit Students should expect to pay approximately $300 for texts and supporting course materials per semester. Tuition is due at the time of registration. (See registration dates listed in the Academic Calendar.) • Computer Requirements Students registering after the registration period are Instruction at the CJC utilizes many modern technologies subject to a late registration fee of $50. Students must and internet resources, and all students are expected to either have paid tuition and fees in full, have been own or have access to a computer running Mac OS 10.7 accepted for financial aid, or have created an in-house or Windows 7 at minimum with high-speed internet semester-long payment plan prior to the first day of access for research, communication and coursework. For instruction to attend classes. Students with overdue music technology courses, a laptop with a recent version tuition may not register for succeeding semesters. of Sibelius and Pro Tools is required to participate. If Seniors with outstanding tuition will be prohibited from purchasing a computer and software specifically for this taking part in their graduation ceremony and will not be program, we recommend a Macintosh laptop, a standard issued their transcript. word processing suite such as Microsoft Office or In-House Payment Plan ­— The CJC offers students the OpenOffice, and the Sibelius music notation program, for option of paying their tuition on a monthly basis for a fee maximum compatibility with the material and software of $50/semester. The CJC In-House Payment Plan must be being taught. created at the time of registration each semester. For fall semester, tuition is divided up into five equal payments due • Library Cards on the first of the month for months August–December; California residents are entitled to a Berkeley Public for spring semester tuition is divided up into five equal Library card. There is a $100 annual fee for a library card payments due on the first of the month for months for the Jean Gray Hargrove Library at UC Berkeley. January–May. A late fee of $25 will be charged for payments submitted after the first of each month. Note: • Challenge Examinations the current semester’s tuition must be paid in full before a The fee for Challenge Examinations (testing out of student may register for the subsequent semester. To create a course) is $275 per course. a payment plan, contact the Registrar at [email protected]. • Transcripts Students with an outstanding balance who have not Official transcripts are issued for a fee of $10 per yet been accepted for financial aid or created a transcript. Unofficial transcripts are free of charge. payment plan by the first day of instruction will be To request a transcript, please contact the dropped from the program. Students with overdue Registrar at registrar @cjc.edu. tuition may not register for succeeding semesters. Seniors with outstanding tuition will be prohibited • Student Tuition Recovery Fund (STRF): from taking part in their graduation ceremony and will Students are required to pay the non-refundable not be issued their transcript. state-imposed assessment for the Student Tuition Recovery Fund (STRF) of $0.00 per every $1,000 of Tuition at the California Jazz Conservatory is subject to tuition each semester. California law requires that upon increase by approximately 4% per year. enrollment a fee be assessed relative to the cost of tuition. These fees support the Student Tuition Recovery Fund • Application Fee (STRF), a special fund established by the California Students must pay a one-time, non-refundable Applica- Legislature to reimburse students who might otherwise tion Fee of $100. The Application Fee is submitted along experience a financial loss as a result of untimely school with the Application for Admission. closure. Institutional participation is mandatory.

• Registration Fee A non-refundable Registration Fee of $50 is charged per semester. Students registering after the deadline will be charged a Late Registration Fee of $50 (please see Academic Calendar 2017 – 2018 on the inside front cover for registration deadlines). 57 GENERAL INFORMATION

You must pay the state-imposed assessment for • Summary of Tuition and Supplemental Fees the Student Tuition Recovery Fund (STRF) if all of the — Application Fee (one-time, non-refundable): $100 following applies to you: — Enrollment Deposit (per semester, non-refundable; 1. You are a student in an educational program, who applied to tuition): $100 (new students); $200 is a California resident, or are enrolled in a residency (returning students) program, and prepay all or part of your tuition either by — Enrollment Deposit Late Fee (per month): $100 cash, guaranteed student loans, or personal loans, and (See under Enrollment Deposit) — Registration Fee (per semester, non-refundable): 2. Your total charges are not paid by any third-party $50 payer such as an employer, government program or other payer unless you have a separate agreement — Late Registration Fee (per semester): $50 to repay the third party. — Late Payment Fee (per month): $50 (per terms of the Enrollment Agreement) You are not eligible for protection from the STRF and you — Tuition Instrumentalists: $9,100 / semester, full-time are not required to pay the STRF assessment, if either of enrollment; $685 / credit, part-time enrollment the following applies: — Tuition Vocalists: $9,400 / semester, full-time enrollment; $685 / credit, part-time enrollment 1. You are not a California resident, or are not enrolled in a residency program, or — Private Instruction / Individual Tutorial: $1,575 / credit 2. Your total charges are paid by a third-party, such as an — Trio Ensembles: $1,050 / credit employer, government program or other payer, and you — STRF fee: $0.00 per $1,000 of tuition have no separate agreement to repay the third party. (per semester); see under Student Tuition Recovery Fund The State of California created the Student Tuition Recovery Fund (STRF) to relieve or mitigate economic — Challenge Examinations: $275 / course losses suffered by students in educational programs who — Textbooks and supporting materials: are California residents, or are enrolled in a residency $300 / semester (estimated) programs attending certain schools regulated by the — Music Software: $600 (estimated) Bureau for Private Postsecondary Education. — Library Fee (annually): $0 – $100 You may be eligible for STRF if you are a California — Transcripts: $10 per official transcript resident or are enrolled in a residency program, prepaid tuition, paid the STRF assessment, and suffered an economic loss as a result of any of the following: • Total Tuition Charges

1. The school closed before the course of instruction Instrumentalists was completed. Full-time enrollment ($9,100 / semester over 8 semesters): $72,800 2. The school’s failure to pay refunds or charges on behalf of a student to a third party for license fees or Full-time enrollment ($9,100 / semester over any other purpose, or to provide equipment or materials 9 semesters): $81,900 for which a charge was collected within 180 days before Part-time enrollment — Instrumentalists/ the closure of the school. ($685 / credit @ 136 credits): $100,280 Part-time enrollment — Pianists 3. The school’s failure to pay or reimburse loan proceeds ($685 / credit @ 134 credits): $98,910 under a federally guaranteed student loan program as required by law or to pay or reimburse proceeds received Vocalists by the school prior to closure in excess of tuition and other costs. Full-time enrollment ($9,400 / semester over 8 semesters): $75,200 4. There was a material failure to comply with the Act or Full-time enrollment ($9,400 / semester over this Division within 30 days before the school closed or, 9 semesters): $84,600 if the material failure began earlier than 30 days prior to Part-time enrollment ($685 / credit @ closure, the period determined by the Bureau. 136 credits): $100,280 5. An inability after diligent efforts to prosecute, prove, and collect on a judgment against the institution for a violation of the Act.

However, no claim can be paid to any student without a social security number or a taxpayer identification number. 58 GENERAL INFORMATION

Private Instruction Code of Academic Integrity Students are required to take fifteen one-hour private Academic integrity is central to forwarding the mission, lessons per semester. Please see p. 51 for a list of goals and objectives of the California Jazz Conservatory. approved private instruction faculty. The cost of one The CJC is committed to providing an environment credit of private instruction is included in full-time tuition; conducive to all aspects of teaching and learning. CJC the rate for private instruction for part-time students is students are held to the highest moral and ethical $1,575 per credit and includes the cost of CJC room standards and are obligated to conduct themselves in rental. Private lessons are scheduled on a to-be-arranged a manner consistent with the principles as stated in the basis between student and teacher. All fifteen hours Code of Academic Integrity as follows: of private instruction must be completed within the semester in which the student is enrolled. The Code of Academic Integrity prohibits students from engaging in any acts of academic Scholarships dishonesty whatsoever including but not limited to: The CJC awards unsolicited partial scholarships on plagiarizing; lying; cheating; and/or fraud. Under the occasion to qualified students based on a combination Code of Academic Integrity: of artistic merit, financial need and the particular needs of Plagiarizing is defined as taking ownership of the work or the program at the time of inquiry. Students must maintain idea of another as one’s own without crediting the source. a cumulative GPA of 3.0, and earn a C or higher in all classes, to remain eligible for scholarships. Note: students Lying is defined as making a false statement which is receiving a scholarship who earn a non-passing grade of intended to deceive. C– or lower in any required courses are responsible for Cheating is defined as benefitting from acting dishonestly retaking those courses at their own expense. or unfairly. Fraud is defined as serving as an impostor for personal The following scholarships are awarded to CJC students gain. who demonstrate a combination of artistic promise, commitment to excellence, and financial need on an All alleged infractions of the Code of Academic Integrity as-available basis: should be reported to the Dean of Instruction in writing. • The Jamey Aebersold Scholarship The Dean of Instruction, together with the student’s Established in honor of Jamey Aebersold, one of the instructor, will thoroughly review the allegations for their world’s leaders in jazz education and performance, veracity, and based on their findings, will determine the the Jamey Aebersold Scholarship provides financial appropriate action. Proof of violation of the Code of support for promising CJC students. Academic Integrity will result in either reprimand and a • The William E. Robinson Scholarship loss of credit for the assignment, loss of credit for the The William E. Robinson Scholarship is awarded course, suspension for one year, or permanent dismissal, to a CJC student who demonstrates commitment to depending on the seriousness of the offense. Students excellence in the fields of jazz and related styles of found in violation must meet with the Dean of Instruction music. in person at which time they will be given a written notice citing the infraction and consequences of the offense. • The Sy Grossman Family Scholarship Any academic and/or financial penalties will apply as of A scholarship fund created in loving memory of CJC that date. board member, jazz pianist and dear friend Seymour Grossman. Please note: In the case of suspension, a student is • East Bay Center for the Performing Arts Scholarship required to reapply for admission into the program as a A scholarship established by the California Jazz new student (see under Admission Requirements). In the Conservatory in conjunction with East Bay Center for case of dismissal, a student may not reapply for admis- the Performing Arts to provide graduates of the sion into the program. Violation of the Code of Academic Young Artist Diploma Program with partial scholar- Integrity that results in either suspension or dismissal will ships to attend the California Jazz Conservatory be permanently attached to a student’s transcript. degree program in Jazz Studies. Code of Conduct Work-Study The California Jazz Conservatory is committed to The California Jazz Conservatory offers work-study providing our collegiate community of students, faculty opportunities on an as-available basis. Work-study and staff with an environment conducive to the freedom positions may include accompaniment, light office work, to teach and to learn — a setting that promotes bookstore staffing and more. Please contact the Dean of intellectual freedom, nurtures individual creativity and Instruction regarding availability of work-study positions. self-expression and is free from discrimination of any kind.

59 GENERAL INFORMATION

Violations of the Student Code of Conduct include but are Upper Division students include: not limited to the following on-campus acts: Junior — Students who have completed 69 – 102 credits • Harassment, whether verbal, physical or written of passing work and have passed their sophomore jury. (including electronic communications), which is Senior — Students who have completed 103 – 136 credits directed at an individual and/or member of a of passing work and have passed their junior jury. protected class, that extends beyond the bounds of protected free speech Academic Probation, Suspension and Dismissal • Use or sale of illegal drugs All students must maintain a minimum cumulative grade • Alcohol intoxication point average of 2.0 or higher to remain in good academic standing (see Grading). • Smoking within 50 feet of campus • Disorderly conduct of any kind Academic Probation — A student whose cumulative grade • Non-consensual physical contact of a sexual nature point average falls below 2.0 will be placed on academic probation until the end of the semester after his/her or defacing CJC property or resources • Damaging cumulative GPA returns to 2.0 or above. A student must earn • Theft or attempted theft a semester grade point average of a minimum of 2.0 each • Possession of weaponry of any kind semester while on academic probation.

All alleged infractions of the Code of Conduct should be Academic Suspension — A student on academic probation reported to the Dean of Instruction in writing. The Dean whose current semester grade point average falls below 2.0 of Instruction, together with the student’s instructor, will will be suspended for one year and must reapply for thoroughly review the allegations for their veracity, and admission into the program as a new student (see under based on their findings, will determine the appropriate Admission Requirements). action. Proof of violation of any aspect of the Code of Conduct will result in either reprimand, probation for the Academic Dismissal — A student who is remainder of the semester and subsequent semester, suspended for the second time will be dismissed and may suspension for one year, or permanent dismissal, depend- not reapply for admission into the program. ing on the seriousness of the offense. Students found in violation must meet with the Dean of Instruction in person Please note: Students must maintain a minimum cumulative at which time they will be given a written notice citing the grade point average of 2.0 to be eligible for payment plans infraction and consequences of the offense. Please note: or scholarship. Academic and financial penalties (see under Cancellations, Withdrawals and Refunds and Adding, Dropping and Housing Withdrawing from Courses) will apply as of the date of the The CJC is located within easy walking distance of a number written notice. Please note: In the case of suspension, a of student-friendly apartment complexes in downtown student is required to reapply for admission into the Berkeley and the nearby vicinity and is also easily accessible by program as a new student (see under Admission Require- BART for students who wish to live outside of the city. There ments). In the case of dismissal, a student may not reapply are no living accommodations available through the California for admission into the program. Violation of the Student Jazz Conservatory at this time. The CJC is not responsible for Code of Conduct that results in either suspension or finding or assisting a student in finding housing. CJC students dismissal will be permanently attached to a student’s are responsible for making arrangements for their own transcript. housing. As of January 2016, average monthly apartment rent in Berkeley ranged from $1,945 for a studio; $2,200 for a Students enrolled in the CJC are held to the highest one-bedroom; and $3,175 for a two-bedroom apartment. standards of conduct and must obey federal, state and local laws. International Students The California Jazz Conservatory is authorized to issue the Academic Standing F-1 student visa. For information on how to obtain the F-1 Undergraduate students are classified as either Lower or student visa, please visit https://www.ice.gov/sevis. Upper Division. The CJC does not vouch for student status or any associated Lower Division students include: charges. Freshman — Students who have completed 0 – 34 Please note: International students are required to submit an credits of passing work. application along with a high school transcript, college Sophomore — Students who have completed 35 – 68 transcripts (if applicable), two letters of recommendation, a credits of passing work and have passed their TOEFL score (see under 7. on page 9), and a playing sample in freshman jury. the form of a DVD. International students are also required to do a live audition and take the Ear Training and Sight Singing and Jazz Theory and Improvisation Placement Exams upon their arrival at the CJC.

60 Financial aid

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

Subsidized Direct Loan Program — Students Federal Sources of Financial Aid with calculated financial need may borrow under (grants, loans and work study) the Subsidized Direct Loan Program. Under the Subsidized Direct Loan Program, the federal Grants government pays the interest on the loan while A grant is a financial award that does not have to be students are in school and during their grace period. repaid. The following grants are available through the Note 1: students must be enrolled at least half-time US Department of Education (USDE): to be eligible for the Subsidized Direct Loan Program. Note 2: A student’s EFC is taken into consideration when determining his/her eligibility for a Subsidized • Federal Pell Grants Direct Loan. For the 2017–2018 Award Year, the projected maxi- mum Federal Pell Grant amount is $5,920. Awards are need-based and will vary based on the student’s EFC Unsubsidized Direct Loan Program — Students and the student’s enrollment status (see Enrollment with no calculated financial need may borrow under Definitions below). Note: students who are enrolled the Unsubsidized Direct Loan Program. The interest less than half-time may be eligible for Pell Grants. rate is the same, but unlike the Subsidized Direct Loan Program, the government does not pay the interest on the loan. Students have the option of paying the enrollment Definitions (per semester) interest while in school, or having it added to their Full-time enrollment: 12 credits or more principal when they graduate or cease being enrolled Three-quarter enrollment: 9–11 credits on at least a half-time basis. Note 1: Students must be enrolled at least half-time to be eligible for the Half-time enrollment: 6–8 credits Unsubsidized Direct Loan Program. Note 2: A Less than half-time student’s EFC is not taken into consideration when enrollment: 1–5 credits determining his/her eligibility for an Unsubsidized Direct Loan; however, any other aid received is a • Federal Supplemental Opportunity Grant (FSEOG) consideration (for example, if the student is eligible The Supplemental Opportunity Grant (FSEOG) is for to receive a Subsidized Direct Loan or a Pell Grant). those students who demonstrate exceptional financial need. Funds are extremely limited; Federal Pell Grant recipients take priority. Award amounts vary between $100 – $250 per academic year.

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

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

Credits Subsidized Total (subsidized completed & unsubsidized

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

61 FINANCIAL AID

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

Credits Subsidized Total (subsidized completed & unsubsidized

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

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

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

Students must maintain a cumulative GPA of 3.0, and If a student obtains a loan to pay for an educational earn the grade of C or higher in all classes, to remain program, the student will have the responsibility to eligible for scholarships. Note: Students receiving a repay the full amount of the loan plus interest, less scholarship who earn a non-passing grade of C- or lower the amount any refund. If a student has received in any required course(s) are responsible for retaking federal student financial aid program funds, the those courses at their own expense. student is entitled to a refund of moneys not paid from federal student financial aid program funds. To inquire about availability of CJC scholarships, please contact the Registrar at [email protected]. Loans Fees At each disbursement the Department of Education Additional Resources for Parents deducts a fee. The loan fee for Direct Loans (Subsidized Parents and students can use a variety of resources to and Unsubsidized) is 1.069% for loans on or after 10/1/16 cover their Educational Expenses such as: and before 10/1/17; the fee for the PLUS loan is 4.276% • PLUS Loans (dependent students only). for loans on or after 10/1/16 and before 10/1/17. • Student’s Financial Aid Package (including loans, grants, and Federal Work Study). Please communicate with your son/daughter.

62 FINANCIAL AID

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

Obtaining a Federal Student Aid (FSA) ID How Financial Aid is Determined The first step in applying for Federal financial aid is to obtain an FSA ID. Note: prior to May 2015, this was Financial aid awards are based on demonstrated financial known as a PIN. Students who have a PIN must now need, which is the difference between the family’s Expected obtain a new FSA ID. The website for creating a new FSA Family Contribution (EFC) plus the student’s own resources ID is https://fsaid.ed.gov. (EFC and any other financial aid), and the allowable educational expenses or Cost of Attendance (COA). The FSA ID consists of a username and password that students must use to log in to certain U.S. Department The USDE determines the EFC, which is based on the of Education (ED) websites. The FSA ID enables students information submitted on the student’s FAFSA. If there to access their personal information on ED websites such are unusual or extenuating circumstances, the Financial as the Free Application for Federal Student Aid Aid Office may make adjustments based on adequate (FAFSA®) at www.fafsa.ed.gov. documentation, on a case-by-case basis.

The FSA ID is used to sign legally binding documents The CJC Financial Aid Office creates an annual budget electronically. It has the same legal status as a written for each student based on the following costs: signature. Besides being used for completing the FAFSA, • Tuition and Fees students can also use their FSA ID for signing their Master • Room & Board Promissory Note (MPN) and for completing Loan Entrance Counseling (a requirement for loan borrowers). • Transportation • Books & Supplies Note: parents of dependent students (those students • Loan Fees living at home) will need their own FSA ID if they want to sign their son’s or daughter’s FAFSA electronically. If • Personal/Miscellaneous Expenses parents have more than one child attending college, they can use the same FSA ID to sign all applications. If there are unusual expenses (for example, unusual medical expenses, child care, etc.), the Financial Aid Completing the FAFSA Office can, with adequate documentation, make To apply for federal student aid, students must complete adjustments to an individual student’s budget. Note: the FAFSA at www.fafsa.ed.gov. Students will need to again, this can only be done on a case-by-case basis. include the CJC School Code: 042376. The school code authorizes the ED to send students’ FAFSA information The Financial Aid Office calculates budgets for both to the CJC. dependent students (those students living at home) and for independent students (those students not living at When completing the FAFSA, students (and their parents home). This information is initially derived from the if students are dependent) will be asked to provide student’s FAFSA. 63 FINANCIAL AID

Note: A student’s total financial aid may not exceed the accepting or declining any of the awards listed or even student’s COA. requesting a lower amount in loans if they choose. Students must then print a copy, sign it and return Student Budgets it to the CJC Financial Aid Office before their financial aid can be finalized. Tuition and Fees Tuition for the 2017–2018 academic year is as follows: Note: Although loans will not be certified by the CJC • Application fee (a one-time fee, new students only): Financial Aid Office until the student’s award letter has $100 been signed and returned (and, if selected, verification completed), students will still be able to decline or • Registration fee (all students): $50 / semester reduce their loan amounts up to 14 days after the • Full-time students (taking 12 or more credits disbursements have been received by the CJC and per semester): $9100, instrumentalists; posted to their student account. When the CJC receives $9400, vocalists the loan funds, the business office will send students an • Part-time students (taking 11 or fewer credits email notification of the amounts and date posted, with per semester): $685 / credit information on how to change their loan amounts.

• Private instruction/Individual Tutorial: Loan Entrance Counseling $1,575 per credit Students who are first time loan borrowers at the • Trio ensembles: $1,050 per credit California Jazz Conservatory must complete Loan Entrance Counseling at studentloans.gov. The Financial Aid Offer Letter After the CJC Financial Aid Office eceivesr a student’s Master Promissory Note FAFSA, it will determine the maximum eligibility for If students have never had a student loan before (or financial aid and send them a Financial Aid Offer Letter. within the last 10 years) and wish to accept one, they The Offer Letter will list what types of financial aid are must complete the Master Promissory Note (MPN) at available to students. Students have the option of either studentloans.gov.

The following table shows California Jazz Conservatory tuition and fees for the 2017– 2018 academic year for a continuing full-time instrumental student taking 12 –18 credits per semester. Note: vocalists add $300/semester.

Category Fall Semester Spring Semester Annual Total

Tuition $9,100 $9,100 $18,200 Reg. Fee $50 $50 $100 Total $9,150 $9,150 $18,300

Non-CJC Expense Estimates for Students — For the purposes of determining eligibility for Federal Financial Aid, the Financial Aid Office uses the following estimates based on California Student Aid Commission (CSAC) Student Expense Budgets for 2017– 2018. Note: these costs are estimates only.

With Parents Off Campus Housing

Category Semester Annual Semester Annual

Books & Supplies $896 $1,791 $895 $1,791 Room & Board $2,624 $5,247 $6,646 $13,293 Transportation $549 $1,098 $616 $1,233 Personal / Misc. $1,503 $3,006 $1,503 $3,006

Total $5,572 $11,142 $9,660 $19,323

64 FINANCIAL AID

Adjustments to Awards Satisfactory Academic Progress (SAP) The California Jazz Conservatory reserves the right to Federal Financial Aid regulations require schools adjust or cancel financial aid awards at any time for to certify that each student applicant for Federal several reasons. Examples include, but are not limited to: Financial Aid is making Satisfactory Academic Progress • A determination by the Department of Education of (SAP). SAP has two parts: a change in the student’s eligibility • A student who fails to make Satisfactory Academic 1. GPA: Students receiving financial aid must maintain a Progress (See p. 65) cumulative GPA of 2.0 or above. • Changes in availability of funding or 2. Maximum Time Frame: According to federal regula- tions, students receiving financial aid may not exceed • Changes in a student’s financial need 150 percent of the standard time expected of a student to complete her/his degree. This means that Disbursement Dates the maximum time frame for eligibility for Federal Financial Aid funds will be requested from the Department Financial Aid is 6 years. This includes all terms, of Education within 3 days after the end of the drop/add whether or not the student actually received financial period each semester. When these funds are received and aid. It also includes enrollment periods prior to the posted to the student’s account, the business office will CJC’s participation in the Federal Financial Aid send out a notification of the date and amounts posted, programs. and when any credit balance due to students will be available. In addition, if loan funds are received, students When looking at each student’s enrollment history, will still have the option of either declining or reducing the the CJC will evaluate whether or not the student amount of their loans within 14 days of that notice. has completed the appropriate number of credits at the time of financial aid certification, based on the First Year, First Time Borrower “30-day Delay” — individual student’s enrollment history. For first-year, first time students who have never In order to meet this maximum time frame of 6 years borrowed under the federal student loan programs, to completion, for financial aid urposes,p full-time federal regulations require that the first disbursement of students need to satisfactorily complete (at a mini- a loan cannot be disbursed earlier than 30 days after the mum) the following number of cumulative credits per start of classes. academic year:

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

After 2017 – 2018 Disbursement Schedule Year 1 17% 23 22 Fall Semester Year 2 33% 45 45 Pell Available for Books 08/14/2017 Year 3 50% 68 67 First Day of Instruction 08/21/2017 Year 4 67% 91 89 Last Day to Add / Year 5 83% 113 112 Drop a Class 09/03/2017 Disbursement Date 09/08/2017 Year 6 100% 136 134 Excess Funds available to students 09/23/2017 Financial Aid Warning and Ineligibility Spring Semester Students who have been placed on Financial Aid Warning will have one academic semester to remediate Pell Available for Books 01/06/2018 any deficiencies and may continue to receive additional First Day of Instruction 01/16/2018 aid during that academic semester. Last Day to Add / Drop a Class 01/28/2018 During the warning period, the student will be expected to correct the previously identified deficiencies and to Disbursement Date 02/02/2018 successfully complete all courses enrolled in during that Excess Funds available period. to students 02/16/2018

65 FINANCIAL AID

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

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

66 FINANCIAL AID

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

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

67 POLICies

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

Withdrawal — A student who wishes to The CJC shall issue or credit refunds within 45 calendar permanently withdraw from the CJC must file a With- days of a student’s cancellation, withdrawal or comple- drawal Form with the Registrar. Withdrawal Forms are tion of the program. available from the Registrar in the Main Office. The notice to permanently withdraw will be considered effective no Upon a student’s failure to pay a debt owed to the CJC, later than the date it is received by the Registrar. permission to register for the forthcoming semester may Permanent withdrawal may be effectuated by a student’s be withheld. The CJC also reserves the right to withhold written notice or by a student’s conduct, including, but a student’s transcript until the debt and all costs not necessarily limited to, a student’s lack of attendance associated with collecting it are paid in full. (see under Code of Conduct and Attendance). Leaves of Absence All financial and academic penalties apply as of the date Students who wish to take a temporary leave of absence the notice to permanently withdraw is received by the between semesters for professional, medical or personal Registrar (see under Refunds below, and Adding, reasons must submit a request in writing to the Dean of Dropping and Withdrawing from Courses). Exceptions Instruction. Leaves of absence may not exceed two may be made for family or medical emergencies with consecutive semesters without permission from the Dean valid documentation. Please note: Students who have of Instruction. Leave of Absence Request forms may be permanently withdrawn and subsequently wish to return obtained from the Registrar in the Main Office and must to the CJC must reapply for admission as a new student be submitted to the Dean of Instruction prior to the first (see under Admission Requirements). day of instruction of the semester for which the leave is requested. Refunds — New students who cancel the Enrollment Agreement within the aforementioned timeframe may Students who wish to take a leave of absence from the obtain a 100 percent refund of charges paid less the CJC during a semester are subject to all academic and Application Fee ($100), Registration Fee ($50) and financial penalties (see under Cancellations, Withdrawals Enrollment Deposit ($100). Returning students who and Refunds and Adding, Dropping and Withdrawing cancel the Enrollment Agreement within the aforemen- from Courses) as of the date of the requested leave of tioned timeframe may obtain a 100 percent refund of absence. Exceptions may be made for family or medical charges paid less the Registration Fee ($50) and emergencies with valid documentation. Enrollment Deposit ($200). Students taking a leave of absence for more than two Refunds for students who withdraw during a period of semesters must reapply for admission as a new student attendance are calculated as follows: Students who have (see under Admission Requirements). completed 60 percent or less of the period of attendance shall receive a refund calculated on a pro rata basis. Attendance Refunds shall be calculated based on the total amount Students must attend all class meetings, rehearsals and owed by the student for the portion of the educational performances on a timely basis, barring illness or family program completed as of the date of receipt of the emergency. Chronic tardiness or failure to attend class notice of cancellation or withdrawal. regularly may adversely affect student grades; please see individual class syllabi for attendance policies specific to each course. 68 policies

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

69 Policies

experiences, the CJC offers students the opportunity to In vocal performance classes, one hour of credit is earn credit in private instruction and/or performance, given for one 60-minute period of supervised instruc- based on their performance and recording portfolio. tion. Vocal performance classes meet for a total of 3 hours per week (3 hours supervised). Vocalists earn 3 hours of Credit for prior experiential learning is granted only to credit for each 15-week semester of classroom work matriculated students. The amount of credit is deter- plus a final exam in the form of a public performance. mined and documented in writing by CJC faculty with relevant credentials. Of the first 60 semester credits, no • Private Instruction more than 15 may be awarded for prior experiential Private Instruction is defined as a course in a one-on-one learning; of the second 60 semester credits, no more than format focusing on technique on an instrument or voice. 15 semester credits may be awarded for prior experiential Private Instruction faculty also prepare students for their learning. The maximum number of credits awarded for annual juries. Students must complete fifteen 1-hour prior experiential learning is 30. lessons within each given semester to earn one credit. Note: Private instruction may not extend beyond the Credit is not granted based on the student’s experiences immediate 15-week semester. per se, but rather on the student’s ability gained through their experiences. Credit granted for prior experiential • Independent Study learning must have approval from the Dean of Instruction Independent Study is defined as time spent indepen- and will be recorded on a student’s transcript as ‘credit dently completing a proposed research project that for prior experiential learning.’ Students must appeal for extends above and beyond the parameters of the credit for prior experiential learning via live audition or curriculum. Students are required to submit a proposal in recorded playing sample. Students are not required to writing to the Dean of Instruction outlining: the project pay for credits awarded for prior experiential learning. scope; objectives; time frame for completion; and their preferred faculty advisor. In Independent Study, one hour Credit Hour Policies of credit is given for a minimum of one 60-minute period of research per week per 15-week semester. Students are • Definition of Semester-Hour of Credit required to present the findings of their research to the The semester-hour of credit represents one hour of public in the form of a paper, lecture/demonstration or classroom instruction plus a minimum of two hours of concert. The designated faculty advisor provides work outside of the classroom for a period of 15 weeks. supervision three times throughout semester. An Short-term offerings are calculated on the same basis. evaluation of the completed project is submitted to the Dean of Instruction in writing. Students are graded on a • Calculations for the Determination of Credit Hours pass/no pass basis.

lecture Courses • Workshops Lecture course are defined as courses in a primarily Workshops are defined as short-term courses or lecture-style format. In lecture courses, one hour of programs in a lecture/laboratory format usually with a credit is given for one 60-minute period of recitation. visiting artist and often concluding with a public performance. In workshops, credit hours for workshops Lecture/Laboratory Courses are calculated on the same basis as credit hours for Lecture/laboratory courses are defined as courses that lecture/laboratory courses i.e., one hour of credit is given combines lecture with hands-on application of course for one 60-minute period of recitation/application. material. In lecture/laboratory courses, one hour of credit is given for one 60-minute period of combined Transfer Credit recitation and application. Students who wish to transfer to the CJC must provide an official satisfactory academic record and have earned Laboratory Courses an overall GPA of 2.0 or higher to be admitted to the Laboratory courses are defined as courses in a CJC. primarily hands-on format. In laboratory courses, one hour of credit is given for two 60-minute periods of The CJC accepts the following courses for transfer: application.* MUS101; MUS201; and the English Communication, Arts and Humanities, and Mathematics and Quantitative * Please note: In instrumental performance ensembles, Reasoning General Studies requirements earned at any one hour of credit is given for one 60-minute period of accredited institution. supervised instruction plus one 30-minute period of unsupervised instruction. Instrumental ensembles meet The CJC also accepts up to 5 Elective credits relevant to for a total of 3 hours per week (2 hours supervised; 1 the program’s purposes earned at any accredited hour unsupervised). Instrumentalists in both small and institution. Please note: students must have earned a large ensembles earn 2 hours of credit for each 15-week grade of C or higher in all courses considered for transfer. semester of classroom instruction plus a final exam in the form of a public performance.

70 policies

NOTICE CONCERNING TRANSFERABILITY 1. Students have the right to inspect and review the OF CREDITS AND CREDENTIALS EARNED education record maintained by the CJC through the AT OUR INSTITUTION Office of the Registrar.

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

Student Right to Privacy Matriculated students are afforded the following rights regarding access to and privacy of their personal information and educational records:

wanted to tell you how helpful I Alexander Technique has been for me since the beginning of the semester. I’ve realized that I don’t have to be in pain while practicing/ performing, and that it’s not out of the realm of possibility for me to reach a genuine state of comfort and control with my music.

— Chris Schubert, CJC Student

71 staff & board

CJC STAFF Erika Oba Program Coordinator

Zachary Mondlick Assistant to the Dean of Instruction PROGRAM STAFF Alejandra Carrasco-Zanini, Susana Pineda, Eli Goldlink, Aaron Hipschman Susan Muscarella Operations Staff President and Dean of Instruction, California Jazz Conservatory (CJC) Lee Brenkman Sound Technician Rob Ewing Director, Jazzschool Robert Soper Piano Technician Laurie Antonioli Chair, CJC Vocal Program Poulson Gluck Design Director, Jazzschool Vocal Program Graphic Design

Erik Jekabson Chris Hardy Director, Jazzschool Young Musicians Program Staff Photographer

Kristine Seinsch Proprietor, Jazzcaffè ADMINSTRATIVE STAFF

Dean Muench CJC Board of Directors Director of Operations

Bill Aron Business Manager Tyler Johnston (Chairman of the Board) Jesse Rimler Executive Vice President, Marketing, Registrar and Custodian of Records, CJC Dreyer’s Grand Ice Cream, Inc., retired Karen Shepherd Susan Brand Financial Aid Director (Vice Chairman of the Board) Scott Latham Ed.D. Clinical Psychologist Recruiting Director, Japan Clifford Brown, Jr. (Director) Keiko Shinozaki President, Brown Radio and Audio Solutions Administrative Assistant, Japan Charles Charnas (Director) Former Vice President, Associate General Counsel, Mary D’Orazi Corporate Law, and Assistant Secretary at Development Associate Hewlett-Packard Company and Apple Inc. Lauren Adams James Ellis (Director) Development Consultant Branch Manager, Paul S. Fingerote University Branch Center, Wells Fargo Marketing & Public Relations Director Jerry Fiddler (Director) Sheryl Lynn Thomas Principal, Zygote Ventures; Chairman, Solazyme Digital Marketing Manager Rita Hargrave, M.D. (Director) Max Brody Geriatric Psychiatry Marketing Assistant Bertram Lubin, M.D. (Director) Hollis Ashby President and Chief Executive Officer, Communications Consultant Children’s Hospital, Oakland Research Institute

Julie Birch Richard A. Lyons (Director, Secretary) Data Manager, Systems Administrator Partner, Wendel, Rosen, Black & Dean, LLP, Attorneys at Law 72 staff & board

Susan Muscarella (Director) BOARD EMERITI Founding President and Dean of Instruction, CJC, Inc. Denny Abrams (Director) Gregg Perloff (Director) Partner, Abrams-Millikan Design Construction Founder and CEO Development, Emeritus Another Planet Entertainment Sherie Friedlander (Director) Jim Reynolds (Director) Sherie Friedlander Insurance Agency, Emeritus Roastmaster emeritus at Peet’s Coffee and Tea; Past president, Pacific Coast Coffee Association Sy Grossman, M.D. (Director) Oakland Kaiser Permanente, Emeritus Neil Rudolph (Director and Treasurer of the Board) Founding Partner, Symphony Asset Management Vaughan Johnson (Director) LLC (Retired); Director and Treasurer of the Marin M.A.T., M.D., F.A.C.S., Emeritus Agricultural Land Trust James J. Keefe (Director) M. David Sherrill (Director) President and Owner, CFA, CFP, Morgan Stanley Smith Barney, BCC Corporation, Emeritus New York, NY Larry Marcus (Director) Kevin Whitman (Director) Managing Director, President and CEO of Whitman Development Walden Venture Capital, Emeritus Company and Whitman Capital Ernie Mieger (Director) Michael Yovino-Young (Director) Real Estate Operative, Emeritus General Certified Real Estate Appraiser Amy Orton (Director and CFO) Michael Zaninovich (Director) Attorney at Law, Emeritus Vice President/Senior Investment Manager John Papini (Director) Wells Fargo Real Estate Investor, Emeritus

Walter Riley (Director) Attorney at Law, Emeritus

Danny Scher (Director) President, Dansun Productions, Advisory Board Vice-President Bill Graham Presents, retired, Emeritus

Tom Carr Carole Davis Paula Forney Benny Green CATALOG PRODUCTION Charles Hamilton

Richard Hindman Design: Poulson Gluck Design Stacey Hoffman Editorial: Paul S. Fingerote Mark Levine Jesse Rimler Jason Olaine Karen Shepherd Patricia Phillips Sheryl Lynn Thomas David Ring Photography: Chris Hardy Jayne Sanchez Robin Kempster James Knox Chuck Sher Grason Littles Merrilee Trost Hali McGrath Wayne Wallace Akida Thomas Peter Williams Printing: Krishna Copy Center

73 APPLICATION

You may also fill out an application form online at cjc.edu/apply Please submit the completed form along with a $100 application fee to: California Jazz Conservatory, Office of Admission 2087 Addison Street, Berkeley, CA 94704 fax: 510.841.5373 e-mail: [email protected]

Applying for: FALL 20 SPRING 20

Personal Information

First Name Middle Name Last Name date

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

First Name Middle Name Last Name

( ) ( )

E-mail Address Home Phone Cell Phone

/ / – –

Birthdate (MM/DD/YYYY) Social Security Number

Instrument Voice

list instrument(s) played and years studied / performed years studied / performed

Permanent Address:

Address City State Zip

Current Mailing Address:

Address City State Zip

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

School Location Dates Attended Degree/Diploma

1.

2.

3.

4.

5.

6.

7. 74 Application

RÉSUMÉ

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

achievements

1.

2.

3.

4.

5.

Awards title date Description

1.

2.

3.

4.

Extracurricular Activities description dates

1.

2.

3.

4.

Other Interests

demographic information

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

ethnicity:

hispanic or latino not hispanic or latino race:

black / african american american indian / alaska native WHITE / CAUCASIAN

asian pacific islander

gender:

male female other prefer not to say

Personal Statement

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

75 LOCATION / DIRECTIONS

Driving Directions

From San Francisco: UNIVERSITY AVE

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

MILVIA STREET

From the South Bay: SHATTUCK AVE BANCROFT WAY Take 880 North to I-80 East/Sacramento towards Berkeley. Take the University Avenue exit. Go east (towards the hills) 2 miles to Shattuck FULTON STREET Avenue. Turn right on Shattuck Avenue to Addison Street. Turn right on Addison Street. CALIFORNIA JAZZ CONSERVATORY The CJC is immediately on your right. 2087 Addison Street 2040 Addison Street (Fiddler Annex, Opening Fall, 2017) Berkeley, California 94704 Bay Area Rapid Transit — BART 510.845.5373 cjc.edu The CJC is located less then a block from the Downtown Berkeley BART station. Please visit BART.gov for specific train information. The Downtown Berkeley BART Station is located in downtown Berkeley on Shattuck Avenue between Thank you to our partners and sponsors Center Street and Allston Way. BART serves San for supporting the future of jazz! Francisco/Colma, SFO/Milbrae, Fremont, Richmond, Dublin/Pleasanton, and Pittsburg/Bay Point.

AC Transit

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

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

C Welcome to the only fully accredited, completely independent college in America totally dedicated to jazz and absolutely devoted to you.