The City University of New York Committee on Academic Policy, Programs and Research

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THE CITY UNIVERSITY OF NEW YORK COMMITTEE ON ACADEMIC POLICY, PROGRAMS AND RESEARCH

AGENDA April 6, 2017

I. Action Items

A. Approval of the minutes of the February 6, 2017 meeting

B. Policy Calendar

1. Brooklyn College – MM in Global and Contemporary Jazz

2. Medgar Evers College – Establishment of the Department of Social Work

3. Brooklyn College – Resolution to Award an Honorary Degree at the College’s Commencement

a) Bernard Sanders – US Senator representing the state of Vermont Degree: Doctor of Humane Letters

4. Hunter College – Resolution to Award an Honorary Degree at the College’s Commencement

a) Arthur Elgort ’64 – Influential fashion photographer Degree: Doctor of Fine Arts

5. CUNY School of Law - Resolution to Award an Honorary Degree at the School’s Commencement

a) Sherrilyn Ifill – President and Director – NAACP – Legal Defense and Education Fund Degree: Doctor of Law

6. The College of Staten Island - Resolution to Award Honorary Degrees at the College’s Commencement

a) Margaret Ricciardi ’86 – Artist and benefactor Degree: Doctor of Arts

b) Andy Shih, Senior Vice President, Public Health and Inclusion at Autism Speaks, NY Degree: Doctor of Science

c) Deidre DeAngelis, Principal of New Dorp High School Degree: Doctor of Humane Letters

d) Peter and Robin Jovanovich, College Benefactors Degree: Doctor of Humane Letters 7. CUNY Graduate School of Public Health and Health Policy - Resolution to Award an Honorary Degree at the School’s Commencement

a) Chirlane McCray, First Lady of New York City and Mental Health Advocate Degree: Doctor of Science

8. Graduate School and University Center - Resolution to Award Honorary Degrees at the School’s Commencement

a) Vanita Gupta, former Principal US Deputy Assistant Attorney General Degree: Doctor of Humane Letters

b) Wael Shawky, artist Degree: Doctor of Humane Letters

c) Lord Nicholas Stern, Chair of the Grantham Research Institute on Climate Change and the Environment Degree: Doctor of Humane Letters

9. John Jay College - Resolution to Award Honorary Degrees at the College’s Commencement

a) Jose Antonio Vargas – Pulitzer Prize winning journalist Degree: Doctor of Humane Letters

b) Mary Bonauto – Litigator for Same Sex Marriage Degree: Doctor of Laws

10. CUNY – Resolution to Approve Start-Up New York Initiatives at Medgar Evers and York Colleges

BOARD OF TRUSTEES THE CITY UNIVERSITY OF NEW YORK

COMMITTEE ON MINUTES OF THE MEETING ACADEMIC POLICY, PROGRAMS, AND RESEARCH FEBRUARY 6, 2017

Committee Chair Wellington Chen called the meeting to order at 4:00 p.m.

The following people were present:

Committee Members: University Staff: Hon. Wellington Z. Chen, Chair Chancellor James B. Milliken Hon. Jill O’Donnell-Tormey, Vice Chair Executive Vice Chancellor and University Provost Hon. Mayra Linares-Garcia Vita Rabinowitz Hon. Charles A. Shorter Prof. Karen Kaplowitz, faculty member Ms. Alyssa Desouza, student member President Russell K. Hotzler, COP Liaison

Trustee Staff: Deputy to the Secretary Hourig Messerlian Ms. Doris Wang

Cal. No. DISPOSITION

Committee Chair Chen welcomed Trustee Mayra Linares-Garcia, as well as Ms. Alyssa Desouza, the new student member, to the Committee.

The agenda items were considered and acted upon in the following order:

I. ACTION ITEMS:

A. APPROVAL OF THE MINUTES OF THE MEETING OF JANUARY 9, 2017. Moved by Trustee Charles Shorter and seconded by Prof. Karen Kaplowitz, the minutes were approved as submitted.

B. POLICY CALENDAR

1. John Jay College – BS in Applied Mathematics: Data Science and Cryptography. Executive Vice Chancellor and University Provost (EVC&UP) Vita Rabinowitz stated that John Jay College seeks to expand its offerings in the liberal arts and sciences by offering an undergraduate degree that focuses on mathematical applications to both big data and data security. The curriculum will consist of high level coursework in mathematics and computer science, and graduates of either concentration will have career opportunities that are both professionally and financially rewarding. She noted that in the cryptography concentration, students will learn to secure information, which is achieved by assuring privacy, as well as other properties of a communication channel, such as data integrity and authenticity, depending upon the application. Graduates of this program will be able to devise systems for companies to resist unwarranted intrusion of hackers, protect internal company and consumer data, and act as consultants in research staffs.

Prof. Kaplowitz stated that this program is a great proposal.

Trustee Shorter stated that this is a very critical proposal given what is happening.

Ms. Desouza stated that this is a fantastic proposal and it is great that John Jay College is having mathematics degrees in applied sciences. BOARD OF TRUSTEES THE CITY UNIVERSITY OF NEW YORK

COMMITTEE ON MINUTES OF THE MEETING ACADEMIC POLICY, PROGRAMS, AND RESEARCH FEBRUARY 6, 2017

In response to a question from Ms. Desouza on whether any of these classes will be given online:

John Jay College Mathematics & Computer Science Chair Douglas Salane stated that the College is planning to offer some of these courses online. As a matter of fact, John Jay College is making and increasing some hybrid courses.

John Jay College Provost Jane Bowers added that because of the uniqueness of this program, the College is hopeful that CUNY students on other campuses will take their courses, either the online versions or by e-permits.

In response to questions from Trustee Shorter on a) why is this program unique, and b) whether it is offered at other schools:

Provost Bowers stated that this program is not offered in any other CUNY schools but it is offered at other schools in the country.

Moved by Prof. Kaplowitz and seconded by Trustee Shorter, and following discussion, the item was approved for submission to the Board.

2. New York City College of Technology – BS in Applied Computational Physics. EVC&UP Rabinowitz stated that graduates of this program will be well equipped with a solid background in physics, computing, and mathematics, as well as learn valuable skills in complex problem-solving and teamwork, which will strengthen their preparation for pursuing careers in engineering areas, such as aerospace, applied mathematics and computer science, physical chemistry, finance, bio-medicine, environmental science, as well as for conducting research in academic, industrial, or national laboratories.

In response to a question from Trustee Shorter on getting an explanation of what computational physics is:

New York City College of Technology (NYCCT) Dean Justin Vazquez-Poritz stated that the idea of this program is to provide students with a general skillset that can be applied to various industries, including the financial industry. There is a commonality of the computational skillset used for physics that has a vast spectrum of applications elsewhere, and NYCCT’s mission is to prepare students directly for the job market.

Moved by Prof. Kaplowitz and seconded by Committee Vice Chair Jill O’Donnell-Tormey, and following discussion, the item was approved for submission to the Board.

3. York College – MSW in Social Work. EVC&UP Rabinowitz stated that York College is strategically expanding its suite of professionally oriented master’s degree programs. The College currently offers an undergraduate degree in social work that enrolls more than 300 majors, so this is a natural addition to their offerings. The program will focus on healthcare, a growing specialization in the field of social work. Currently, CUNY offers no MSW program in either of the boroughs of Brooklyn or Queens, so this will make an impact.

In response to a question from Trustee Shorter on whether there is a substantial demand for this program:

President Marcia Keizs stated that much study went into this program, and even though York College has existed since 1972 as an accredited undergraduate program—currently BOARD OF TRUSTEES THE CITY UNIVERSITY OF NEW YORK

COMMITTEE ON MINUTES OF THE MEETING ACADEMIC POLICY, PROGRAMS, AND RESEARCH FEBRUARY 6, 2017

accredited for the next 10 years, the College did lots of homework using the Bureau of Labor Statistics, census data, etc., which clearly spells out a growing demand not only across the nation, but also in this region, so York College has a very solid basis for establishing such a program in the borough of Queens.

In response to another question from Trustee Shorter on whether there is an identified demographic within the borough of Queens that would be targeted:

York College Health Sciences and Professional Programs Dean Lynne Clark stated that a large part of the students will come from the undergraduate programs but there is a great need for this type of health program. There is a big change right now in healthcare, so this sets up the social worker to deal with healthcare as a total team of how to give quality care to patients. The social worker at the master’s level, and particularly somebody with this expertise, will probably be one of the directors of these teams, as it will not be the doctor anymore.

In response to a third question from Trustee Shorter on whether there would be extensive fieldwork in this program:

York College Social Sciences Chair Gila Acker stated that there is extensive fieldwork, same as in the undergraduate program. The MSW is an accredited program, therefore, the College has to follow strict guidelines of the Council on Social Work Education (CSWE), which is the accrediting body. Furthermore, York College is offering 900 internship hours in the senior year—which is the second year—as required by New York State and CSWE.

In response to a question from Committee Chair O’Donnell-Tormey on what is the anticipated enrollment for the program:

Chair Acker stated that it is anticipated that around thirteen students from the College will enroll in the program for the first year, even though there may be a bigger demand. The College has many majors and many of the students come from different backgrounds and countries, but one of the issues is that most of the students come from a more middle or lower socio-economic class, so for them to have a graduate public program is extremely important.

President Keizs stated that this is an open program and it is not only for York College students. Anyone can enroll in this program as it has been determined that within Queens there is no existing MSW. The College sees the possibility of a regional draw even though there is a need in the Borough of Queens. This program is not limited to Queens residents.

Dean Clark added that the program will also draw Long Island residents. There are some private colleges out there, but the difference is in tuition, accessibility, and quality of the program.

In response to a question from Trustee Shorter on whether faculty is already in place:

President Keizs stated that there is already faculty in place but the College will ramp up more faculty. Some things were done in preparation. The social work program had been embedded in a larger department, and a few years ago the College separated it out into an independent department, then established some new lines, which have been funded. The College plans to establish more new lines. If this program is approved by the Board, it BOARD OF TRUSTEES THE CITY UNIVERSITY OF NEW YORK

COMMITTEE ON MINUTES OF THE MEETING ACADEMIC POLICY, PROGRAMS, AND RESEARCH FEBRUARY 6, 2017

needs to go up to the State and the admissions process is quite long. Admission will include setup of the guidelines in fall 2017, then enrollment to the class in spring 2018, but the class will not start until August 2018, so the timeline is needed in order to plan things through. She added that the College has also made some commitments to bring in some additional Ph.D. trained research faculty into the department.

Dean Clark added that the department already has faculty who are Ph.D. trained. She added that the program is self-funding so all the costs are built in. There is nothing extra. It was done that way in case there were financial ramifications. The College does not want to take funding away from other areas.

In response to a question from Prof. Kaplowitz on whether other CUNY colleges have MSW programs that are capable of meeting the demand:

President Keizs stated that other CUNY colleges with MSW programs are capable of meeting the demand. However, one of the things that happen in programs like this is that GPAs just keep rising, and students whom York College would like to serve may be excluded, so the College has set its GPA at a good standard.

Chair Acker added that there are two different GPAs. For the full program it is 3.0, and it is 3.2 for advanced standing. Students with a GPA of 3.2 go directly to the second year.

In response to a question from Ms. Desouza on what will be a focus of the program:

Chair Acker stated that the focus is community healthcare which is really different from other MSW programs offered within CUNY.

In response to another question from Ms. Desouza on whether this program will be modeled after another CUNY MSW program:

Chair Acker stated that York College does not need to model other MSW programs in CUNY, because MSW programs in the United States are very similar. Each follows the same strict guidelines of the accrediting body so students who complete their MSW program are similar to each other in their knowledge base, except those with specializations.

Committee Chair Chen stated that this program will make a great impact.

Moved by Prof. Kaplowitz and seconded by Trustee O’Donnell-Tormey, and following discussion, the item was approved for submission to the Board.

4. Lehman College – Honorary Degrees. Eddie Palmieri, musician Doctor of Music

Betty A. Rosa, Chancellor, NYS Board of Regents Doctor of Humane Letters

Jeffrey Gilbert, ’72, Physician Doctor of Science

EVC&UP Rabinowitz stated that Lehman College proposes to honor Mr. Eddie Palmieri, who has had an outstanding career in the field of Latin jazz. His career includes ten BOARD OF TRUSTEES THE CITY UNIVERSITY OF NEW YORK

COMMITTEE ON MINUTES OF THE MEETING ACADEMIC POLICY, PROGRAMS, AND RESEARCH FEBRUARY 6, 2017

Grammy Awards, recordings for the Smithsonian National Museum of American History in Washington, D.C. and numerous other honors, such as the Lifetime Achievement Award from the Latin Grammys and the National Endowment of the Arts (NEA) Jazz Master. The NEA Jazz Masters Fellowships are the highest honors the United States bestows upon jazz musicians. Lehman College also proposes to honor Dr. Betty A. Rosa, the Chancellor of the New York State Board of Regents. Dr. Rosa has worked tirelessly on behalf of the students of New York City, and especially the Bronx, where she was a bilingual teacher, principal of Intermediate School 218, Superintendent of Community School District 8 and Senior Superintendent of the Bronx. Lastly, Dr. Jeffrey Gilbert is an international authority on the diagnosis and treatment of sexually transmitted diseases (STDs). His previous positions include Medical Director for Sexually Transmitted Infections at BioReference Laboratories and Medical Director for the STD Center of Excellence at Montefiore Medical Center. Since May 2005, Dr. Gilbert has been a member of the Scientific Advisory Board of Amazon Biotech Inc. and also holds the prestigious designation of a World Health Organization (WHO) Expert in Human Diseases, including HIV. In 1992, he founded the STD Center for Excellence at Mount Vernon Hospital, and in 1996, he moved the Center to Montefiore Hospital. The Center was the STD training site for New York State for nearly two decades and was a Center for Disease Control training site for five years.

5. Queens College – Honorary Degrees. Donald Brownstein, ’65, Philosopher and Investment Banker Doctor of Humane Letters

Saul Kupferberg, Marketing Executive and Queens College Benefactor Doctor of Humane Letters

EVC&UP Rabinowitz stated that Queens College Dr. Donald Brownstein grew up in a household of modest means in the Gun Hill Section of the Bronx. Through his dedication and hard work, he rose to become Chief Investment Officer and CEO of Structured Portfolio Management. LLC. Dr. Brownstein holds a Ph.D. in Philosophy from the University of Minnesota, a B.A. in Philosophy from Queens College, and was a fellow at the Center for the Study of Language and Information at Stanford University. Dr. Brownstein donated $1 million to Queens College in 2012 in the name of Distinguished Professor John J. McDermott. He felt that the philosophy classes that he took from Dr. McDermott at Queens College in the 1960s inspired him to obtain a Ph.D. in philosophy from the University of Minnesota and become a philosophy professor at the University of Kansas. His professional achievements and civic consciousness make him an ideal recipient of this award. Mr. Saul Kupferberg rose to Vice President of Sales and Marketing at Kepco Incorporated after having been part of the company since 1988. Prior to joining Kepco Incorporated, Mr. Kupferberg attended Trinity College, where he earned his degree in Religion and graduated with honors. He then attended Dropsie College from which he graduated with an MA in Ancient History. He is a member of IEEE (Institute of Electrical and Electronic Engineers), which is the largest professional association for the advancement of technology. Mr. Kupferberg is a member of the Queens College Foundation, and a founding member and current Chair of the Kupferberg Center Arts Advisory Board at Queens College. In this capacity, he has worked with the Executive Director to establish five working committees which have expanded funding for internships in the arts, as well as expanding opportunities for Queens College students to participate in internships at cultural locations. Mr. Kupferberg has been an outstanding supporter of the role of the Kupferberg Center to provide enrichment to the academic and professional lives of Queens College students and campus stakeholders. Mr. Kupferberg’s personal achievements, coupled with his commitment to the advancement of Queens College students and community members, make him a distinguished candidate to receive this award. BOARD OF TRUSTEES THE CITY UNIVERSITY OF NEW YORK

COMMITTEE ON MINUTES OF THE MEETING ACADEMIC POLICY, PROGRAMS, AND RESEARCH FEBRUARY 6, 2017

6. Baruch College – Honorary Degrees. Neil deGrasse Tyson, Director of the Hayden Planetarium and Public Intellectual Doctor of Pedagogy

Allen E. Goodman, President and CEO, Institute for International Education Doctor of Humane Letters

EVC&UP Rabinowitz stated that Baruch College seeks to award an honorary degree to Dr. Neil deGrasse Tyson, who is the Frederick P. Rose Director of the Hayden Planetarium at the American Museum of Natural History. In this role, Dr. Tyson has been a leader in advancing understanding of science, and particularly astronomy and astrophysics, for the general public. In his role as a scientific communicator, he continues to educate and inspire the public, and in particular young people, to pursue discovery and understanding of the world through science. A native New Yorker, Dr. Tyson is a graduate of the Bronx High School of Science, and received degrees from Harvard University, University of Texas, and Columbia University. He was awarded the National Aeronautics and Space Administration (NASA) Distinguished Public Service Medal in 2004, hosted the NOVA Science Now series on PBS, and was awarded the Public Welfare Medal by the National Academy of Sciences in 2015 for his “extraordinary role in exciting the public about the wonders of sciences.” The second candidate nominated by Baruch College is Allan E. Goodman, who is President and CEO of the Institute of International Education (IIE), which conducts research, and administrates the Fulbright Programs sponsored by the U.S. Department of State, as well as several hundred corporate, government and privately sponsored programs on international education. Dr. Goodman was Executive Dean of the School of Foreign Service and Professor at Georgetown University, and served as Presidential Briefing Coordinator for the Director of Central Intelligence in the Carter Administration. Dr. Goodman has served as a consultant to the Ford Foundation, the Woodrow Wilson National Fellowship Foundation, the United States Information Agency, and IBM. He is a member of the Council on Foreign Relations.

In response to a question from Trustee Shorter on whether each nomination will be submitted to the full Board:

Committee Chair Chen stated that each nomination will be submitted to the full Board after it is approved by this Committee.

Moved by Prof. Kaplowitz and seconded by Trustee Mayra Linares-Garcia, and following discussion, items I.B.4 through I.B.6 were approved for submission to the Board.

7. CUNY School of Medicine - Establishment of the Department of Molecular, Cellular & Biomedical Science and the Closing of the Department of Pathobiology and the Department of Physiology, Pharmacology and Neuroscience. EVC&UP Rabinowitz stated that the CUNY School of Medicine recently completed a major restructuring of its curriculum and academic program as it transformed its biomedical science program into an MD degree-granting program. Prior to this restructuring, an external reviewer panel and two strategic planning workgroups recommended the reorganization of the School’s departmental structure and the merger of academic departments for improving the School’s effectiveness and efficiency. The basic science components of the curriculum have historically been taught as discreet disciplines, administered through two or more academic departments. The new curricular structure that is being proposed for enhancing students’ learning and application of content is an integrated, interdisciplinary curriculum. This integration aligns with trends in medical education and in the scientific community toward increased interdisciplinary collaboration in areas of instruction and research. The BOARD OF TRUSTEES THE CITY UNIVERSITY OF NEW YORK

COMMITTEE ON MINUTES OF THE MEETING ACADEMIC POLICY, PROGRAMS, AND RESEARCH FEBRUARY 6, 2017

proposed new Department of Molecular, Cellular & Biomedical Sciences will be established through the merger, and the resultant closure, of the Department of Pathobiology and the Department of Physiology, Pharmacology and Neuroscience, and is intended to enhance efficiencies, to support and promote interdisciplinary curricular and research development and the collaborative teaching required to support the new BS-MD curriculum. The costs associated with the establishment of the new department will be minimal, as it will be using the School’s existing resources.

City College Dean Maurizio Trevisan stated that first of all, the curriculum is no longer discipline-based, it is now an organ-based curriculum, so there is no more biochemistry and physiology. Secondly, the School has historically been a small school—a department of four or five people. In this kind of research, critical mass is important, so it is much better to define the strategic priority in terms of research and education with larger groups of people.

In response to a question from Committee Vice Chair O’Donnell-Tormey on whether this program will emulate more interdisciplinary research versus teaching load:

Dean Trevisan stated that all the basic sciences will be in one department. There were five departments five years ago, and each one of them had four people. Since the merger, the School has one department with about 25 people.

In response to another question from Committee Vice Chair O’Donnell-Tormey on whether there is currently one chair of the department:

Dean Trevisan stated that the faculty and the Senate Committee voted unanimously to have one chair of the department.

In response to a question from Prof. Kaplowitz on what is the meaning of organ-based curriculum:

Dean Trevisan stated that an organ-based curriculum is divided up into building blocks, so part will be anatomy and part will be pathology—all the traditional ways. Then after the building block is started, they would take, for instance, Gastrointestinal (GI), to have the opportunity to discuss the physiology and pharmacology of Genomic Grade Index (GGI). Also, as part of the curriculum, clinicians would come in to do clinical correlates of the GI, and the same thing goes for cardiovascular and neurodegenerative diseases. In addition, the other big change is that very little time is spent in big classes. Students would now work in small groups of six to ten people, interacting with the faculty through problem- based learning.

In response to a question from Committee Vice Chair O’Donnell-Tormey on whether in the first year, students will still be taking histology and biochemistry, continuing on to gross anatomy:

Dean Trevisan stated that this program is actually a seven-year program, so students attend straight out of high school. In the first three years, clinical organic chemistry and physics will be taken, but in a traditional four-year curriculum in medical school, the first semester is discipline-based, and the remaining three semesters are organ-based. Therefore, students will still take gross anatomy which is divided into two parts. For instance, in the building block, anatomy will be part of the required general courses that students take and then they will continue on, taking a specific anatomy course through the organ-based curriculum. BOARD OF TRUSTEES THE CITY UNIVERSITY OF NEW YORK

COMMITTEE ON MINUTES OF THE MEETING ACADEMIC POLICY, PROGRAMS, AND RESEARCH FEBRUARY 6, 2017

Moved by Prof. Kaplowitz and seconded by Trustee Shorter, and following discussion, the item was approved for submission to the Board.

The meeting was adjourned at 4:34 p.m. I.B.1 - BROOKLYN COLLEGE – MM in GLOBAL and CONTEMPORARY JAZZ

RESOLVED, that the program in Global and Contemporary Jazz offered at Brooklyn College and leading to the Master of Music, be approved effective May 1, 2017, subject to financial ability.

EXPLANATION: The M.M. in Global and Contemporary Jazz Studies program will address the growing field of jazz and world music with a degree program that addresses our graduate students’ needs for productive professional lives in this growing field. The goal of the program will be to offer advanced training in jazz performance, history, arranging/theory, pedagogy, technology, and music industry practice. The program’s unique focus will be on the intersection of various forms of jazz originating in the United States with the music of Africa, Latin America, the Caribbean, the Mid-East, and southern Asia. In addition to offering traditional approaches to jazz performance practice, theory, and history, our global scope will emphasize rhythm configurations, tonal systems, and improvisation practices not associated with European-based music.

Brooklyn College of The City University of New York

PROPOSAL TO ESTABLISH A GRADUATE PROGRAM IN MASTER OF MUSIC DEGREE IN GLOBAL AND CONTEMPORARY JAZZ STUDIES

ANTICIPATED START DATE: FALL 2017

SPONSORED BY COSERVATORY OF MUSIC SCHOOL OF VISUAL, MEDIA AND PERFORMING ARTS

APPROVED BY:

Date of Department Approval: October 13, 2016

Date of Faculty Council Approval: February 14, 2017

College Representative: Michelle Anderson, President Brooklyn College of The City University of New York

Contact: Dr. Maria Ann Conelli Dean, School of Visual, Media and Performing Arts Tele: 718-951-3180 Email: [email protected]

Dr. Jeff Taylor Associate Professor and Program Director Telephone: (718) 951-5286 Email: [email protected]

Provost’s Signature: ______

Dr. William A. Tramontano 1

Master of Music in Global and Contemporary Jazz Studies

Abstract

This proposal is a request to establish a Master of Music in Global and Contemporary Jazz Studies at Brooklyn College of The City University of New York (CUNY) in the School of Visual, Media and Performing Arts.

The M.M. in Global and Contemporary Jazz Studies program will address the growing field of jazz and world music with a degree program that addresses our graduate students’ needs for productive professional lives in this growing field. The technologies of music composition, performance, and dissemination have seen radical developments in recent years. The continuing phenomenal increase in computer power and the influential innovations it has brought--such as the Internet, MP3 files, and the iPod--has contributed to significant increase in musical culture and musical style during this period.

Requiring 35 graduate credits over the course of 2 years, which represent the program’s common core, and elective courses, allowing students to tailor their programs to their specific educational and professional needs.

Executive Summary Overview

The Conservatory of Music at Brooklyn College proposes to establish a graduate course of study culminating in the Master of Music in Global and Contemporary Jazz Studies. The program’s unique focus will be on the intersection of various forms of jazz originating in the United States with the music of Africa, Latin America, the Caribbean, the Mid-East, and southern Asia. In addition to offering traditional approaches to jazz performance practice, theory, and history, our global scope will emphasize rhythm configurations, tonal systems, and improvisation practices not associated with European-based music.

Need for the Graduate Degree and Employment Opportunities

The current cultural landscape of jazz calls for a new generation of jazz players and teachers who are versed in performance techniques, theory, history and pedagogy that move beyond the traditional US-centric Jazz Studies major. A broader global perspective is necessary to prepare students for careers as professionals in the field of twenty-first century jazz.

The ability to specialize in music is increasingly important as job opportunities are defined in new ways. Some common areas of expertise include solo and ensemble performance, conducting, arranging, composing, teaching, producing, and recording. A degree in Global and Contemporary Jazz Studies encompasses these job titles and creates an advantage for our students that a degree in performance alone may not foster.

PROPOSAL: MASTER OF MUSIC IN GLOBAL AND CONTEMPORARY JAZZ STUDIES Introduction The Brooklyn College Conservatory of Music seeks to establish a Master of Music degree (35 credits) in Global and Contemporary Jazz Studies, with a proposed start date of Fall 2017. The goal of the program will be to offer musicians and educators who already hold a BA in Music from an accredited institution (or a non-music Bachelor’s degree with comparable musical experience) advanced training in jazz performance, history, arranging/theory, pedagogy, technology, and music industry practice. The program’s unique focus will be on the intersection of various forms of jazz originating in the United States with the music of Africa, Latin America, the Caribbean, the Mid-East, and southern Asia. In addition to offering traditional approaches to jazz performance practice, theory, and history, our global scope will emphasize rhythm configurations, tonal systems, and improvisation practices not associated with European-based music. The proposed MM will take maximum advantage of existing faculty and courses already offered through the Conservatory but will expand its ensembles, orchestras, and adjunct faculty. Purpose and Goals Jazz today is recognized as America’s most distinctive form of 20th century musical expression and perhaps our most significant contribution to world culture. What began as street music in the black neighborhoods of New Orleans and other cities evolved into the popular music of the Depression, an avant-garde movement in the post-war years, and a “serious” concert hall music in the 1970s and 1980s. The musical practices that gave birth to jazz were also present in the popular music of Central and South America, the Caribbean, and anywhere the African Diaspora intersected with European musical practices. As the 20th century drew to a close, jazz had become a truly global music, spreading back to Africa, Latin America, and the Caribbean, as well as to Europe, the Middle East, and parts of Asia. This history demonstrates that the need for a globally inclusive MM program is timely and that the Brooklyn College model will be distinctive amongst jazz studies programs. Our proposed Global Jazz MM program will provide an environment to foster a sense of creativity and innovation amongst our students while teaching them the musical techniques and practical skills to prepare them for careers in the globally-expanding arena of 21st century jazz. Moreover, our program will create an environment in which this new jazz can grow and become more relevant to students with wide interests, bringing musical and scholarly credibility to the field of jazz, an art form that has transcended its American roots to become truly a world music. The Brooklyn College Conservatory of Music’s interest in jazz goes back to the late 1980s with the establishment of a big band jazz ensemble. Recognizing the growing importance of jazz, the Conservatory hired jazz historian Jeffrey Taylor in 1993, and saxophonist, composer, and bandleader Salim Washington in 2004 Grammy winning pianist, composer, and bandleader Arturo O’Farrill succeeded Washington in 2012. Over the years Taylor, Washington, and most recently O’Farrill have developed a series of courses in jazz history, theory, and composition, and overseen the growth of Brooklyn’s big band and small jazz ensembles. The Hitchcock Institute for Studies in American Music, now directed by Taylor with assistance from folklorist/ethnomusicologist Ray Allen, has been actively engaged with local African American 3

and Latino organizations in recent years to document and promote Brooklyn’s growing jazz scene.

There are many good reasons to expand Brooklyn College’s jazz program at this moment, beginning with its geographic location in one of the major jazz capitols of the world, Brooklyn. Jazz has been an integral part of New York City’s cultural life, identity, and economy since the 1920s. For nearly a century musicians have been coming to New York from all over the United States and the world to pursue their jazz careers, and every year an international collection of fans converge on the city to hear them perform in historic clubs, prestigious concert halls, and out-of-the-way night spots. Though Manhattan has historically been considered the epicenter of jazz activity, Brooklyn has always maintained a thriving jazz scene, and is presently poised to rival Manhattan in musical innovation and creativity. Over the past decade the Brooklyn neighborhoods of Fort Greene, Bedford Stuyvesant, Clinton Hill, Park Slope, and Williamsburg have become vibrant centers where contemporary jazz musicians live and play. A May 26, 2006 New York Times article on Brooklyn’s jazz spots refers to “Brooklyn’s rich and booming jazz scene” that has become “a magnet for musicians…. The rise of that scene — which, like its borough, is an assemblage of enclaves — has been one of the most significant developments for jazz in New York in recent years…. Through a growing network of low-rent spaces mostly booked by enterprising musicians, Brooklyn has assumed a vital role in the city's larger jazz culture. And the music has been a boon for listeners of all kinds…” In a 2010 article about the “Brooklyn Jazz Underground,” a collective of ten Brooklyn-based bandleaders, a Wall Street Journal critic noted that “the spirit of the organization is firmly rooted in Brooklyn. All of the members reside there, and they wanted to give a nod to the vitality of its scene.” The Central Brooklyn Jazz Consortium, an African American community organization, has sponsored the highly successful annual Brooklyn Jazz Festival, now in its 16th year. The Brooklyn College Conservatory, working through the Hitchcock Institute, has participated in the last six Brooklyn Jazz Festivals by co-sponsoring concerts and talks with leading jazz figures Randy Weston, Fred Ho, Arturo O’Farrill, Charles Tolliver, Papo Vazquez, Anat Cohen, Etienne Charles, and a host of younger Brooklyn jazz musicians.

The proposed MM program will expand and deepen the Conservatory’s commitment to jazz studies and its ongoing relationship with the Brooklyn jazz community. Working primarily with existing fulltime faculty, and an expanded roster of select adjuncts drawn from New York’s pool of world-class jazz musicians, the program will provide a unique experience in jazz studies. In addition to standard offerings in jazz history, theory/arranging, and ensemble playing, significant emphasis will be placed on acquiring practical knowledge and skills related to concert production, promotion, management, grant writing and fund raising, music technology, and pedagogy. As final proof of the timeliness of this proposal, the academic study of jazz is currently moving toward a global perspective. Berklee College of Music, one of the nation’s foremost institutions for the training of jazz performers and composers, has now established a “Master of Music in Contemporary Performance – Global Jazz Concentration,” under the leadership of pianist Danilo Perez. And Jazz at Lincoln Center, perhaps the music’s most highly visible champion, now claims that its mission “is to entertain, enrich and expand a global community [our emphasis] for Jazz through performance, education and advocacy.” We at Brooklyn College relish the 4

possibility of bringing a fresh approach to this exciting development in college curriculum and institutional support. Need The current cultural landscape of jazz calls for a new generation of jazz players and teachers who are versed in performance techniques, theory, history and pedagogy that move beyond the traditional US-centric Jazz Studies major. In other words, a broader global perspective is necessary to prepare students for careers as professionals in the field of 21st century jazz. In addition, the swiftly evolving world of jazz production, recording, and dissemination require relevant and up-to-date courses in technology and business practices. Students completing the program will be trained to pursue a number of professions including:

• Freelance jazz composer/band leader/musician • Jazz/Theater Band Arranger • Jazz teacher K-12 (current teachers with Initial Certificate seeking Masters degree for their Professional Certificate) • Jazz teaching artist (after-school and part-time programs) • University Teacher: Jazz performance, theory, history, and pedagogy. • Jazz/World Music o archivist o production/recording specialist o critic/journalist o administrator o publicist Students Several other New York City institutions of higher learning offer advanced degrees in jazz, at substantially higher cost than any CUNY school.

• New York University/Steinhardt School offers a 2 year/1 semester 36-credit “MM Degree in Performance with a Concentration in Jazz” ($61,934.00 w/fees) that offers extensive training in business and technology, but does not maintain a global perspective.

• The Manhattan School of Music offers a 2 year 56-credit “MM/Jazz Performance” and 60-credit “MM/Jazz Composition” degrees ($91,606.00 w/fees), but again, though individual faculty may promote a global vision for jazz, the school’s overall mission is more conservative.

• The Juilliard School of Music, whose jazz program is directed by Wynton Marsalis, offers a 2 year 56-credit “MM, Jazz” ($82,630.00 w/fees) that is heavily weighted toward individual instruction.

• In the CUNY system, Queens College offers a 36-credit “MM in Jazz Studies” (performance or composition) and City College offers a 32-credit MA with a focus in jazz studies ($9650/year full-time, resident; $18,000/year full-time, international) but the 5

programs are weighted towards traditional jazz performance with an emphasis on individual lessons and ensemble playing.

The Brooklyn College proposed MM would attract students who already have adequate technique and improvisational skills, but want to expand their musical experience to include jazz practices of a more international and contemporary scope. Practicing professionals, whose skill level might qualify them to deliver, rather than receive performance instruction, will be able to design a curriculum that qualifies them to teach on the college level. Similarly, aspiring young musicians with an interest in more global jazz studies can select courses that prepare them to cope with the practical realities (fund raising, financial logistics, recording, etc.) of a career as a jazz musician, while music teachers at public schools with existing jazz programs can satisfy New York State requirements for professional certification through classes directly relevant to their employment. Because of our diverse and internationally focused curriculum, our students will graduate with a particularly large vocabulary of jazz skills and will be more likely to pursue successful careers in the jazz field. The proposed program at Brooklyn College will be the first graduate-level jazz performance/studies program in the borough. The growing numbers of Brooklyn jazz musicians and educators will provide a strong pool of candidates for the proposed program, as discussed below. Brooklyn College’s proposed MM will be particularly attractive to four segments of New York City’s music community:

• Currently working jazz musicians. Many talented jazz musicians become professional musicians before completing graduate training. These musicians would benefit from an opportunity to expand their knowledge and skills in ways that are not necessarily supported by the jazz market or industry in which they are currently employed. Our global approach to jazz will provide tools that will make them particularly attractive for support and employment. In addition, many musicians, particularly as they get older, seek ways to increase stability in their working life and hope to gain the credentials to teach in a university setting. This program will do so while widening their expertise in the most important current trends in jazz performance, composition, and pedagogy.

• Current music teachers in primary and secondary educational institutions. There are a number of school teacher/musicians who are interested in jazz both for their own professional development and for their student ensembles. As they are required to gain a master's degree in order to obtain their professional certificate, this would provide an attractive option especially for those whose interests move beyond the traditional Western repertory. And training in a global approach to jazz will connect directly with the wide diversity of cultural and ethnic backgrounds with which New York teachers are faced in K-12 settings.

• Music majors with a bachelor's degree who lack sufficient practical experience or skill sets to begin their professional careers as jazz players. These students, who would opt to take lessons, would benefit from an affordable program that would allow them to study their craft more intensely and broaden their musical perspective. 6

• A smaller number of students will come to this program with the intention of pursuing a doctoral degree perhaps in the burgeoning field of global and contemporary jazz studies. In terms of enrollment, we estimate the first cohort of admitted students to number c. 10. Fully enrolled, the 2-year MM program will serve approximately 20 students. 1st Year Students Second Year Students Total 2016-2017 10 0 10

2017-2018 10 10 20

2019-2020 10 10 20

2020-2021 10 10 20

2021-2022 10 10 20

Curriculum The Conservatory’s proposed MM in Global and Contemporary Jazz Studies at Brooklyn College is designed to further the education of students who have pursued undergraduate studies in jazz and to enhance employment opportunities for both practicing professionals who are already accomplished performers and students, scholars and researchers interested in broadening their view of jazz. Acceptance will be based primarily on auditions demonstrating proficiency in jazz technique, improvisation, and theory. Though performance-based jazz programs at CUNY—with private lessons and ensemble performance forming the curriculum’s core—the proposed Brooklyn College program is particularly international and contemporary in scope, requiring courses in global rhythms, alternative techniques in notation and intonation, current improvisation techniques, global jazz history and theory, as well as courses devoted to concert production, promotion, management, grant writing and fund raising, music technology, and pedagogy. While lesson levels will be determined by auditions, all students will be required to play in the conservatory’s jazz ensembles for four semesters. Offerings will be expanded to include nontraditional and global ensembles focusing on hybrid jazz styles from African, the Caribbean, South American, the Mid- east, India, and Eastern Europe. Potential ensembles might include:

• Afro-Cuban jazz ensemble • Yiddish Klezmer jazz ensemble • Indo-Pakistani Jazz ensemble • South African Marabi jazz ensemble • Tango jazz ensemble The Jazz History courses will have an explicitly humanistic focus, spilling over into related areas of global studies, Africana and Caribbean Studies, cultural studies, and ethnomusicology. As with the rest of the curriculum, our history courses will, in short, not offer a traditionally limited 7

definition of what it means to be a jazz musician. In addition to the Jazz History course, all students will be required to take an additional history/culture seminar to deepen their understanding of the place of jazz in the modern world. The Hitchcock Institute will also organize an annual Global Jazz Festival/Conference, led by leading figures in the fields of jazz studies and world music, which will provide our students with the opportunity to engage in current issues regarding music, globalization, and cultural politics. The Conservatory’s jazz masters program will also offer a class that focuses on the business side of music. Today’s jazz musicians should be able to write grants and interact with the not-for- profit world, and must promote, book, and manage their own careers and/or ensembles. On the writing side our graduates will be expected to articulate their aesthetic philosophy and explain their style preferences and areas of concentration. This is also to prepare them for careers as critics, jazz journalists, and research scholars. A course that focuses on jazz pedagogy will mix practical and philosophical considerations. As jazz musicians rely ever more upon conservatories and formal education for their jazz preparation, new approaches to teaching the art are needed. The jazz pedagogy course will provide students with models of jazz education or methodology that move beyond traditional jazz pedagogical approaches.

Proposed Curriculum: Master of Music in Global and Contemporary Jazz Studies Credits 1. Studio Lessons (3 credits/semester, max. 3 semesters) 9*

MUSC 7791X Performance I 45 hours each term; 3 credits each term Advanced performance in voice or an instrument. One hour a week of individual instruction. Weekly performance seminar. Prerequisite: audition and permission of the director.

MUSC 7792X Performance II 45 hours each term; 3 credits each term Advanced performance in voice or an instrument. One hour a week of individual instruction. Weekly performance seminar. Prerequisite: Music 7791X [779.1X] and audition and permission of the director.

MUSC 7793X Performance III 45 hours each term; 3 credits each term Advanced performance in voice or an instrument. One hour a week of individual instruction. Weekly performance seminar. Prerequisite: Music 7792X [779.2X] and audition and permission of the director.

2. Ensembles. (1 or more credits/semester; min. 5 credits total) 5

MUSC 7780X Jazz Big Band 45 hours; 1 credit Study and performance of new and old jazz literature. May be taken for credit each term the student is enrolled. Prerequisite: audition.

MUSC 7781X Small Ensemble Jazz 45 hours; 1 credit Study and performance of music for small jazz combo, including practical experience with jazz improvisation techniques and styles. May be taken for credit each term the student is enrolled. Prerequisite: audition.

Additional ensembles as created.

3. Jazz Theory and Musicianship (choose 6 credits) 6

MUSC U7540X Fundamentals of Jazz Theory** 45 hours; 3 credits Jazz theory, practice, and technique learned through analysis and performance. Intervallic construction through late chromatic harmony. Special emphasis on harmony and theory in twentieth century classical music and its relationship to jazz. Introduction to non-Western scales and modes, as well as avant-garde approaches to contemporary composition and improvisation. Prerequisite: permission of the director.

MUSC 7545X Contemporary Jazz Theory and Musicianship** 45 hours, 3 credits Survey practical jazz techniques based in new organizational methods for understanding advanced jazz and world music theory. Prerequisite: Permission of the Director

MUSC 7380X Jazz Arranging and Orchestration** 45 hours; 3 credits Technical and aesthetic aspects of jazz arranging and orchestration. Analysis of historically important works for large and small jazz ensemble, with an emphasis placed on the traditional big band.

MUSC 7546X Jazz Composition** 45 hours, 3 credits A comprehensive approach to jazz composition and arranging with an emphasis on producing a final written score/arrangement. Prerequisite: Permission of the Director

MUSC 7855X Global Improvisation** 45 hours, 3 credits Survey techniques used in improvisation throughout the world. Approaches in scale organization as well as metric and rhythmic concepts. Integration of global improvisation and established jazz techniques. Prerequisite: Permission of the Director

4. History and Criticism (choose 6 credits) 6

MUSC 7860X History of Jazz I*** 45 hours; 3 credits Survey of styles, genres, and forms of jazz from its origin to 1950. Analysis of selected works. Prerequisite: Music U7400G [740G] or the equivalent.

MUSC 7861X History of Jazz II*** 45 hours; 3 credits Survey of styles, genres, and forms of jazz from 1950 to the present. Analysis of selected works. Prerequisite: Music U7400G [740G] or the equivalent.

MUSC 7851X Music of the World's People** 45 hours; 3 credits Cross-cultural studies of world music repertories. Development of new perspectives on music and its role in diverse societies. Emphasis on the ways in which musicians acquire and exercise their art and on the uses and meanings of music. Prerequisites: Permission of the Director.

MUSC 7651X Seminar in Jazz History 45 hours; 3 credits Selected topics in the history of jazz, from its origins to the present. Research and analysis of recordings, transcriptions, and arrangements. Emphasis on social and cultural context. Students may take this course for credit twice, but may not repeat topics. May be repeated for credit with a different topic, as indicated in the class schedule and approved by the director. Prerequisite: Music U7400G [740G] or the equivalent

5. Business and Pedagogy (choose 3 credits) 3

MUSC 7190X Jazz Pedagogy** 45 hours, 3 credits Survey various methods and techniques for teaching jazz performance to students at the secondary school and college levels and in private lessons. Organizing and rehearsing large and small bands; choosing appropriate repertoire; teaching jazz- related harmonies, rhythms, and improvisational techniques; approaches to the one- on-one lesson; methods of learning assessment.

MUSC 7441X Introduction to Music Business & Marketing** 45 hours; 3 credits Introduction to activities associated with the music business, including working at labels, distribution companies, publishing companies, recording studios, artist management, promotion, producing, and legal counsel. A broad overview of the music industry, and explanation of how its various segments operate on a day-today basis: where monies are generated, who the key players are, how deals are made and broken, how interests are protected, and new developments in digital technology that are changing the way that music is marketed, promoted, distributed, and heard.

6. Electives 3 11

7. Final Project (choose 3 credits) 3

MUSC U7950G Master's Recital Hours to be arranged; 3 credits Preparation of a master's recital supervised by a faculty member. Prerequisite: approval of program and level of work by the student's graduate committee.

MUSC U7930X Thesis Research Hours to be arranged; 3 credits Research for master's thesis supervised by faculty member. Students register for this course only once. Credit is not earned until the thesis is accepted. Prerequisite: permission of the director.

Total Credits 35

*Students with high existing skills can place out of some or all lessons. **New courses approved by Faculty Council as of Oct. 2016. ***Changes to Existing Courses approved by Faculty Council as of Oct. 2016.

Faculty

• Arturo O’Farrill. Assistant Professor and Director of Jazz Ensembles. A pianist, composer, educator and founder of the nonprofit Afro Latin Jazz Alliance, Arturo O'Farrill was born in Mexico, grew up in New York, and was educated at the Manhattan School of Music, Conservatory of Music at Brooklyn College and the Aaron Copland School of Music at Queens College. O'Farrill played piano with the Carla Bley Big Band from 1979 through 1983. He then went on to develop as a solo performer with a wide spectrum of artists including Dizzy Gillespie, Steve Turre, Freddy Cole, The Fort Apache Band, Lester Bowie, Wynton Marsalis and Harry Belafonte. In 1995, O'Farrill agreed to direct the band that preserved much of his father's music, the Chico O'Farrill Afro Cuban Jazz Orchestra, which recently concluded a 15-year residency at Birdland. In 2002, O'Farrill created the Afro Latin Jazz Orchestra (ALJO) for Jazz at Lincoln Center due to a large body of music in the genre of Latin and Afro Cuban jazz that deserves to be much more widely appreciated. His debut album with the Orchestra, Una Noche Inolvidable, earned a Grammy Award nomination in 2006, and the Orchestra's second album, Song for Chico, earned a Grammy Award for Best Latin Jazz Album in 2009. In 2011, O'Farrill and the ALJO released their third album, 40 Acres and a Burro, which was nominated for a Grammy Award for Best Large Jazz Ensemble Album. The ALJO’s album The Offense of the Drum received a 2015 Grammy Award for Best Latin Jazz Album.

Prof. O’Farrill oversees jazz ensembles and teaches courses in jazz theory and musicianship.

• Jeffrey Taylor. Director of Brooklyn College's H. Wiley Hitchcock Institute for Studies in American Music, Professor. Taylor received his doctorate from Michigan, has been a member of the conservatory faculty since 1993 and is the director of the H. Wiley Hitchcock Institute of Studies in American Music (HISAM). He specializes in jazz and other areas of music in the United States; he also teaches general courses in Western music history and musicology and has regularly led sections of the conservatory's introductory Core course (he is also a co-author of that course's textbook). He is on the faculty of the CUNY Graduate Center, where he teaches doctoral seminars in jazz history and historiography. His scholarly work has focused primarily on pre-1940s jazz, though his interests include many aspects of current trends in jazz and popular music scholarship and performance, particularly those related to race, gender, class, sexuality and spirituality. He is on the editorial boards of Black Music Research Journal and the Journal of the Society for American Music. His writing has appeared in Musical Quarterly, Black Music Research Journal, American Music, the ISAM Newsletter and other publications. As a performer, Taylor has focused primarily on the work of early jazz pianists such as Jelly Roll Morton, Fats Waller and James P. Johnson, and in 1998 he appeared with fellow pianist Artis Wodehouse at several events related to ISAM's The Gershwins at 100 festival. He published an acclaimed critical edition of transcriptions of Hines's solos in 2007. He is currently at work on a biography of jazz pianist Earl "Fatha" Hines, as well as projects on early jazz piano and the player piano.

Professor Taylor teaches classes in jazz history and criticism. As Director of HISAM he will assist in coordinating visiting artist residencies, conferences, and symposia associated with the Global Jazz program.

• Ray Allen. Professor. Ray Allen is on the faulty of the Conservatory of Music and the CUNY Graduate Center, and serves as a senior associate at the H. Wiley Hitchcock Institute for Studies in American Music (HISAM). Allen received his doctorate in Folklore and Ethnomusicology from the University of Pennsylvania. He teaches courses on American folk and popular music with an emphasis on the music cultures of New York City. Allen's research focuses on a variety of American folk and popular music, ranging from African American gospel and Caribbean Carnival music to works of composers Ruth Crawford Seeger and George Gershwin, with a special interest in New York City music cultures. He is the author of a number of works on American, African American, and Afro-Caribbean vernacular musics including Singing in the Spirit: African-American Sacred Quartets in New York City (University of Pennsylvania Press, 1991), Island Sounds in the Global City: Caribbean Popular Music and Identity in New York (University of Illinois Press, 1998; coedited with Lois Wilcken), and Gone to the Country: The New Lost City Ramblers and the Urban Folk Revival (University of Illinois Press, 2010). He is currently working on a monograph entitled Jump Up! Caribbean Carnival Music in Brooklyn (Oxford University Press).

Professor Allen teaches classes in global music and coordinates the annual Global jazz Festival. He will work with Professor Taylor in coordinating visiting artist residencies, conferences, and symposia associated with the Global Jazz program

David Grubbs. Professor David Grubbs is a professor in the Conservatory of Music at Brooklyn College, where he also teaches in the M.F.A. programs in performance and interactive media arts (PIMA) and creative writing. He holds a Ph.D. in literature from the University of Chicago. From 1997 to 1999 he taught in the Sound and Liberal Arts departments of the School of the Art Institute of Chicago. Between 1999 and 2007 he regularly published music criticism in the Süddeutsche Zeitung. His criticism has appeared in Chicago Review, Texte zur Kunst, Frieze, Afterall, Modern Painters, The Wire, Bookforum, Tin House, Black Clock and Conjunctions. Grubbs is a 2005–06 grant recipient from the Foundation for Contemporary Arts and a member of ISSUE Project Room's Artistic Advisory Board. Professor Grubbs is the author of the acclaimed book Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording (Duke University Press, 2014) and is one of five musicians profiled in Augusto Contento's documentary film Parallax Sounds. Grubbs has released 12 solo albums and appeared on more than 150 commercially released recordings. His most recent releases include The Plain Where the Palace Stood (Drag City) and Frolic Architecture (Blue Chopsticks), a collaboration with poet Susan Howe. In 2000, his The Spectrum Between (Drag City) was named "Album of the Year" in the London Sunday Times. Grubbs is known for his cross-disciplinary collaborations with such writers as Susan Howe and Rick Moody, and with such visual artists as Anthony McCall, Angela Bulloch, Cosima von Bonin and Stephen Prina. His collaborations with Susan Howe appear on three CD releases and have been presented in 14

performance at MoMA, the Southbank Centre (London), the Walker Art Center (Minneapolis), Cambridge University, Harvard University and Yale University's Beinecke Library. Works by Angela Bulloch featuring soundtracks by Grubbs have been exhibited at the Solomon R. Guggenheim Museum (in the exhibition, theanyspacewhatever), the Centre Pompidou (in elles@centrepompidou), and the Städtische Galerie im Lenbachhaus, Munich. Grubbs and Bulloch premiered a new performance work, The Wired Salutation, at the Centre Pompidou in 2013. Grubbs's music appears in two installations by Doug Aitken, and his sound installation "Between a Raven and a Writing Desk" was included in the 1999 group exhibition Elysian Fields at the Centre Pompidou.

Professor Grubbs teaches classes in music technology and will teach electives in the global jazz program.

• Adjunct faculty to teach jazz percussion, bass, brass, and reeds (four adjuncts/semester- see Cost Assessment below).

• A Global Jazz Residency program that would bring New York’s top global jazz players to campus for a semester to lead a world jazz ensemble in their area of their expertise (ie: African, Caribbean, South American, Balkan, Klezmer, East Indian, etc). Funding for the Global Jazz Residency program would be sought from outside sources.

Cost Assessment

The MM program in Global and Contemporary Jazz Studies will generate income through tuition funds and lesson fees.

No new fulltime faculty hires will be required.

In terms of adjuncts to teach lessons we foresee the following needs: 1 Brass Instructor at $3500/semester = $7,000/year 1 Reeds Instructor at $3500/semester = $7,000/year 1 Percussion Instructor at $3500/semester = $7,000/year 1 Electric/Double Bass Instructor at $3500/semester = $7,000/year Total Adjunct costs = $28,000/year

We would also like to hire one Resident Ensemble Director each semester to lead a group specializing in one of the many global jazz hybrid forms including (though not limited to) traditions from Cuba, Puerto Rico, the Dominican, Haiti, Brazil, Venezuela, Colombia, Spain, Eastern Europe (Klezmer), Morocco, South Africa, and India. 1 Global Jazz Ensemble Director at $5000/semester = $10,000/year Total Resident Ensemble Director costs = $10,000/year

Total Costs for Adjunct and Resident Ensemble Directors = $38,000/year

In addition, outside funding streams will be explored. For example we presently have a 1.5 million dollar grant pending with the Ford Foundation for an Artist Residency and Foreign Student Exchange Program with educational institutions in Cuba.

Appendix A. Possible Course of Study for One Student

Year One, Fall Year One, Spring

Performance I (3 cr.) Performance II (3 cr.)

Ensemble (1 cr.) Ensemble (1 cr.)

Fundamentals of Jazz Theory (3 cr.) Jazz Composition (3 cr.)

History of Jazz I (3 cr.) History of Jazz II (3 cr.)

TOTAL: 10 credits TOTAL: 10 credits

Year Two, Fall Year Two, Spring

Performance III (3 cr.) Ensemble (2 cr.)

Ensemble (1 cr.) Master’s Recital (3 cr.)

Intro. to Music Business & Marketing (3 cr.)

Electives (3 cr.)

TOTAL: 10 credits TOTAL: 5 credits

APPENDIX B: Proposed Teaching Rotation (A two-year cycle)

Year One, Fall: Year One, Spring:

Course Instructor Course Instructor

Performance 1 TBA/Adjunct Performance II TBA/Adjunct

Jazz Big Band O’Farrill Jazz Big Band O’Farrill

Small Ensemble Jazz O’Farrill Small Jazz Ensemble O’Farrill

New Ensemble TBA New Ensemble TBA

Fundamentals of Jazz O’Farrill Jazz Arranging and O’Farrill Theory Orchestration

History of Jazz I Taylor History of Jazz II Taylor

Intro. to Music TBA Jazz Pedagogy TBA Business & Marketing

History of Sound Art Grubbs Music of the World’s Allen Peoples

(21 hours of teaching plus studio lessons) (21 hours of teaching plus studio lessons)

Year Two, Fall: Year Two, Spring:

Course Instructor Course Instructor

Performance III TBA/Adjunct Master’s Recital TBA/Adjunct

Jazz Big Band O’Farrill Jazz Big Band O’Farrill

Small Ensemble Jazz O’Farrill Small Ensemble Jazz O’Farrill

New Ensemble TBA New Ensemble TBA

Contemporary Jazz O’Farrill Jazz Composition O’Farrill Theory and

Musicianship 18

History of Jazz I Taylor History of Jazz II Taylor

Seminar in Jazz History Taylor Jazz Pedagogy TBA

Special Topics in Grubbs Global Improvisation TBA Sound Art

(21 hours of teaching plus studio lessons) (21 hours of teaching plus studio lessons)

Existing Courses for Global Jazz

MUSC 7791X Performance I (Individual Lessons) (existing course) 45 hours each term; 3 credits each term

Course Description: Advanced performance in voice or an instrument. One hour a week of individual instruction. Participation in weekly performance seminar. Prerequisite: audition and permission of the director.

Learning Objectives: - Develop advanced technical skills on instrument or voice (intonation, timbre, rhythm, etc). - Develop ability to bring personal interpret a specific piece of music. - Develop advanced imporvisory skills. - Broaden exposure and knowledge of appropriate (jazz) repertoire.

Outcomes Assessment: - Weekly feedback from instructor following each individual lesson. - A final performance jury evaluated by appropriate instrumental or vocal faculty.

Course Outline

MUSC 7792X Performance II (Individual Lessons) (existing course) 45 hours each term; 3 credits each term

Course Description: Advanced performance in voice or an instrument. One hour a week of individual instruction. Weekly performance seminar. Prerequisite: Music 7791X [779.1X] and audition and permission of the director.

Learning Objectives: - Continue to develop advanced technical skills on instrument or voice (intonation, timbre, rhythm, etc). - Continue to develop ability to bring personal interpret a specific piece of music. - Continue to develop advanced imporvisory skills. - Continue to broaden exposure and knowledge of appropriate (jazz) repertoire.

Outcomes Assessment: - Weekly feedback from instructor following each individual lesson. - A final performance jury evaluated by appropriate instrumental or vocal faculty.

Course Outline

MUSC 7793X Performance III (existing course) 45 hours each term; 3 credits each term

Course Description: Advanced performance in voice or an instrument. One hour a week of individual instruction. Weekly performance seminar. Prerequisite: Music 7792X [779.2X] and audition and permission of the director.

Outcomes Assessment: - Weekly feedback from instructor following each individual lesson. - A final performance jury evaluated by appropriate instrumental or vocal faculty.

Course Outline

MUSC 7780X Jazz Big Band (existing course) 45 hours; 1 credit Study and performance of new and old jazz literature. May be taken for credit each term the student is enrolled. Prerequisite: audition.

Description: This performance course features preparing and presenting repertoire for jazz big band. It is a workshop-style course that is defined by the skills and contributions of the enrolled musicians.

Objectives: The aim of the course is to provide an active engagement with performance of existing and new music for jazz big band for all styles of jazz, and polishing of improvisatory tools.

Outcomes Assessment: Students will receive a final grade based on the following: 1. Rehearsal Preparation: Ability to play the assigned music well early in the semester and demonstrated progress from week to week on technical and artistic elements, so that it is a positive contribution for the ensemble. (40%) 2. Active Participation: Musical responsiveness in coachings, being able to absorb musical and technical suggestions and retain those aspects from week to week. Participation in creating a piece or an interpretation, both spoken ideas and performance expression of ideas (20%) 3. Creative Initiative: Offering new compositions and other works for performance, and guiding the rehearsal process for learning those pieces. Offering insights into other pieces as well. (20%) 4. Professional interaction with peers and professor; being punctual, and giving and receiving comments constructively. (20%)

Course Outline

1. Introduction; repertory discussion 2. Rehearsal 3. Rehearsal 4. Rehearsal 5. Rehearsal 6. Rehearsal 7. Rehearsal 8. Rehearsal 9. Rehearsal 10. Rehearsal 11. Rehearsal 12. Rehearsal 13. Rehearsal 14. Concert MUSC 7781X Small Ensemble Jazz (existing course) 45 hours; 1 credit Study and performance of music for small jazz combo, including practical experience with jazz improvisation techniques and styles. May be taken for credit each term the student is enrolled. Prerequisite: audition.

Description: This performance course features preparing and presenting repertoire for small jazz ensemble. It is a workshop-style course that is defined by the skills and contributions of the enrolled musicians.

Objectives: The aim of the course is to provide an active engagement with performance of existing and new music for small jazz ensemble for all styles of jazz, and polishing of improvisatory tools.

Course Outline

Evaluation Report Form for Program Proposals

Institution: Conservatory of Music Brooklyn College

Evaluator(s): Hankus Netsky Ph.D.

Program title: Master of Music in Global and Contemporary Jazz Studies

Degree title: Master of Music

Date of evaluation: 17 February 2017

I. Program

At the request of Brooklyn college's music department I am submitting my external evaluation of their proposal to expand their offerings to include a graduate major in "Global Jazz." I am a musician who has been part of the "global jazz" scene for the past forty years and an educator who served as chair of Jazz Studies at New England Conservatory for ten years (1986-1996) and currently serves as chair of Contemporary Improvisation (a program that includes an extensive global and world music component) at the same school (since 2008). I earned my Ph.D in ethnomusicology from Wesleyan University in 2004.

I applaud the efforts of the Brooklyn College faculty to move in this direction. As they mention in their proposal, Brooklyn is in itself a microcosm of the current global improvisation scene and an ideal place to offer a program with such a focus. Indeed, the "global jazz" scene is teeming with Brooklyn- based musicians, and local venues including Barbes, Southpaw, the Issue Project Room, BAM, and the college's own music series have played major roles in launching the movement.

I am also glad to see that the program will include a robust curricular connection to issues of globalization, appropriation and politics, which I believe cannot be separated from any curriculum that involves global music training

I especially applaud the ensemble-based approach to global music. Adjunct faculty who teach in this program can bring not only extraordinary experience from teaching masters in their traditions outside of a western musical/theoretical context but can also bring in complex layers of extra-musical context that will truly make the music come alive. I am also heartened by the assertion that the curriculum will seek to link the "Globalization" of improvisation with similar issues in 20th and early 21st century classical composition.

In looking over their proposal I do have several suggestions, mostly based on my own long experience in teaching global improvisation.

1. I'm wondering about the title "Global Jazz." Having had the opportunity to observe Berklee's global jazz program here in Boston, I think both the term and the approach that I see there could inspire many volumes of social critique without even looking at musical content. I have similar problems with the idea of Jazz at Lincoln center referencing their commitment to a "global jazz" community. This is because it puts pretty much every world music tradition in a subservient role to not only "jazz" but the even more westernized and facile world of "jazz education," a world where entire musical traditions (including those of African Americans) are, in musical transmission, reduced to a series of "interesting scales" and theoretical principles that have nothing to do with the cultural context of the music being taught. This narrowing of the "jazz" umbrella has its roots in the the 1990s re-contextualization of jazz as a tradition much more specific in its roots than the generous and inclusive improvisational umbrella implied in earlier times. For this reason, I would suggest that "Global Improvisation" would be more appropriate.

We have given a good deal of thought about the name of the program, and share Professor Netsky’s concerns over the label “Global Jazz.” Jazz is an imprecise and imperfect term, one that is sure to raise endless debates among scholars and musicians. This acknowledged, as a faculty we are comfortable with the general definition of jazz as music based in African, Afro-Caribbean, and African American rhythmic and improvisory practices, usually rendered through instrumentation, harmonic structures, and compositional forms associated with European traditions. Given its multifarious roots, jazz has been “global” since its inception in the early 20th century, and its spread around the globe speaks to its appeal as a universal art form as well as its malleability in mixing and remixing with other world music traditions. We don’t see the global diaspora of jazz as resulting in the subjugation of non-western musics, but rather contributing to a rich cultural hybridization that has resulted in the evolution of exciting new forms of music which the program intends to explore and support.

Moreover, the term “improvised music” has its own historical ideological issues. Improvised music is often associated with a European-centered avant garde movement that downplayed or ignored African influences. Thus “Global Improvisation” would send out confusing and inaccurate signals regarding the nature of the program that will have a strong Afro-Caribbean base.

And finally there are practical reasons to keep the “jazz” moniker. Jazz is still understood as a conceptual category by the general public, New York is still considered the global center of “jazz,” and Arturo O’Farrill, the program’s director, is identified internationally as a “jazz” musician, not a global improvising musician. In sum, at this time the term “global jazz” will be an asset to recruiting and building the program.

2. Accordingly, I would suggest changing the term "jazz skills" to "improvisational skills in the course descriptions.

Improvisational skills are stressed throughout the proposal, along with rhythmic skills, composition skills, etc. Together these fall under the broader umbrella of “jazz skills.” “Improvisational skills” alone is too narrow a term.

3. Your proposal states: our global scope will emphasize rhythm configurations, tonal systems, and improvisation practices not associated with European-based music.

You also refer to "Advanced jazz and world music theory." How will this be done? I can see how it would work in ensemble situations with specialized adjunct faculty, but in a classroom setting it's a lot to take on, especially in a "survey" type course. I find it much more useful to teach each type of world music as a separate topic.

We agree. We foresee being able to be able to attract adjuncts with expertise in select fields of world music to teach in the classroom as well as to lead ensembles. In the future we hope to hire a fulltime ethnomusicologist/percussion specialist who will be to handle more world music topics. This of course depends on the College’s budgetary priorities.

4. In the description, you mention that "Acceptance will be based primarily on auditions demonstrating proficiency in jazz technique, improvisation, and theory."

I find that a high level of ear-training proficiency is essential in programs like this and, at NEC, we give extensive aural skills tests to determine eligibility. These include singing and transcribing difficult melodies, harmonic structure recognition, rhythmic recall, and a demonstrated ability to find melodies on the instrument without use of written scores.

Agreed. We will change the admission requirements to read:

Acceptance will be based primarily on auditions demonstrating proficiency in jazz technique, improvisation, theory, score reading, transcribing, and aural vocal and instrumental skills (the ability to play and sing without the use of scores).

II. Faculty

I have had the opportunity to closely observe the work of both Arturo O'Farrill and Ray Allen. These are musicians who live and work in today's global music community and know it well. I believe these educators and their colleagues are uniquely poised to construct the program they are proposing. I also believe that Brooklyn College has a music faculty of unusually high quality and, most importantly, truly collaborative, something essential in launching a successful new program.

MUSC U7540X Fundamentals of Jazz Theory (new course) 45 hours 3 credits

Jazz theory, practice, and technique learned through analysis and performance. Intervallic construction through late chromatic harmony. Special emphasis on harmony and theory in twentieth century classical music and its relationship to jazz.

Prerequisite: matriculation for the M.M. in Jazz performance

Rationale: There is an assumed lingua franca that is expected of every jazz musician. There are a variety of skills and stylistic fluencies that determine the authenticity of jazz. Before one can explore a larger view of jazz through a more globally inclusive and modern stance, one has to understand the basic models from New Orleans jazz through bebop and eventually avant- garde musicians such as Sun Ra.

This course will help the student develop a theoretical understanding of the technical language of jazz theory. Through applied techniques in solo construction, harmonic devices, voicing and stylistic nuance, the student can authentically recreate, identify, and analyze the theoretical concepts of jazz. This course will fill in stylistic gaps that determine the viability and therefore the employability of a student performer/educator, scholar or administrator. This course builds on traditional harmonic and structural understandings while exploring techniques employed in global and contemporary models of jazz.

Program/ Department Goals Addressed by Course: --Ability to identify and discuss at an advanced level recordings, performances and transcriptions in terms of period, genre, possible composer, and identifying musical traits.

--Ability to listen to, analyze, explain, and discuss at an advanced level musical examples, i.e. with sufficient sophistication and appropriate attention to details such as key areas, harmonies, motives, rhythm, phrasing, texture, dynamics, register, color, text-music relationships, serial techniques, musical grammar and rhetoric, etc.

--Understand the musical terminology pertaining to the theory, composition, and performance of music. Music-education students will also be expected to demonstrate knowledge of terminologies from recognized standard pedagogies in music. (The required vocabulary list for study will be updated periodically to reflect new trends in the field.)

--Well-crafted, original term projects on musical topics at an advanced level.

---Familiarity and practical experience with technologies required for the student’s program (e.g., notation software, presentation software, composition software, etc.).

Objectives of Course:

1. Explore the application of chromatic jazz theory in writing and performance.

2. Techniques for analysis of harmonic and linear structures common to jazz and improvised music.

3. Identify stylistic parameters of key periods in jazz from traditional to contemporary.

Outcomes anticipated for Course:

1. To perform in an authentic style from New Orleans to post-1960s as a soloist and to voice on the keyboard harmonic material from varied eras.

2. To prepare an analysis of five representative schools of jazz theory and recreate them in different examples.

3. To be fluent in at least five historical styles.

Course Outline: Week 1 Review intervals, basic modes and scales. Examine the application of these modes and scales in basic genres of jazz.

Week 2 Understanding secondary and tertiary voice leading and introduce substitute chords.

Week 3 Examination of extended modes and altered scales and scale patterns. Explore voicings and chord patterns based on these extended tonal organization.

Week 4 Examine the historical precedence for alternate harmonic organizations in the music of the “classical” fathers of Jazz (Debussy, Ravel, Gershwin, Bartók, and others).

Week 5 Different approaches to harmonization employing sequential and parallel harmonic movement.

Week 6 Tritone substitutions and their usage in secondary and tertiary resolutions.

Week 7 The methodology of Wayne Shorter, John Coltrane, and other modern masters. Tonal organization based on pitch class sets and clusters.

Week 8 Polytonality and polytonal resolution in the music of Lenny Tristano, Jim McNeely, and Ornette Coleman. A subset on the Harmolodic theory in work of James Blood Ulmer and Steve Coleman. Week 9 Quartal theory and the usage of distinct aesthetic-based organizational methods in the music of McCoy Tyner.

Week 10 The alternate harmonic construction of The Art Ensemble of Chicago and Cecil Taylor. What is Free Jazz?

Week 11 A comparative analysis of jazz theory from Ragtime through Swing, and from Bebop to the Miles Davis Era.

Week 12 Continued analysis of jazz theory from Miles Davis through Ornette Coleman; from Sun Ra through Muhal Richard Abrams.

Week 13 Contemporary theory, tonal organization and metric modulation.

Week 14 Review session.

Methods of Evaluation Students will be assessed by written and performance assignments. 20% for critical analysis, 20% performance (either written or instrumental), 20% formal class presentation, 20% classroom participation, and 20% midterm and final examinations.

Method of Assessment

Students will be graded on assignments as noted above. In addition, student evaluations will be used to demonstrate if goals are being met.

Selected Bibliography: Levine, Mark The Jazz Theory Book. Sher Music, 2009

Jerry Coke. Patterns for Jazz - A Theory Text for Jazz Composition and Improvisation. Alfred, 1982.

Dan Haerle. Jazz Language: A Theory Text for Jazz Theory and Improvisation. Alfred, 1980.

MUSC 7545X Contemporary Jazz Theory and Musicianship (new course) 45 hours, 3 credits

Course Description: Survey practical jazz techniques based in new organizational methods for understanding advanced jazz and world music theory.

Prerequisite: Matriculation to Jazz M.M. Program

Rationale: The language of jazz has changed radically. There are many schools of performance which do not employ traditional “jazz” harmonic, theoretical or rhythmic practice. The modern jazz musician must be well versed in everything from Indian ragas to klezmer scales to contemporary compositional techniques to electro-acoustic methods.

Improvisation in a non-traditional language is fundamental to the theoretical understanding of new jazz so that the student is free to develop the ability to authoritatively “solo” in many different jazz disciplines.

Special attention is paid to international approaches to jazz theory. The harmonic language of tango, the melodic stylistic approach to free jazz, the metric modulation of contemporary Pan-American styles are all approaches to jazz that the modern musician is expected to be able to understand and be fluent in

--Well crafted, original term projects on musical topics at an advanced level.

---Familiarity and practical experience with technologies required for the student’s program (e.g., notation software, presentation software, composition software, etc.).

Objectives of Course:

1. To be able to demonstrate fluency in alternative, non-traditional chords and scales.

2. To be able to identify international and contemporary schools of jazz and explain their identity using harmonic and structural construction.

3. To present and analyze different styles of jazz and defend such analysis to others and in a classroom setting.

Outcomes anticipated for Course:

1. To perform in an authentic style from Eastern European to Asian scales and chords as a soloist and to voice on the keyboard harmonic material from varied schools of thought.

2. To prepare an analysis of five representative schools of advanced jazz theory and recreate them in different examples.

3. To be fluent in at least five world and contemporary jazz styles.

Course Outline: Week 1 Review basics of fundamental Jazz theory.

Week 2 Introduction of East Indian Ragas and Talas as well as analysis of performances.

Week 3 Introduction of Eastern European scales and chordal patterns.

Week 4 Examine the usage of these alternate harmonic organizations in the folk music of the “classical” fathers of Jazz (Debussy, Scriabin, Stravinsky, Bartok, and others).

Week 5 Explore different approaches to scale and harmony in the music of southern Europe, especially the music of Greece and Spain with an emphasis on Flamenco and Andalusian sources.

Week 6 Complex time meters in the music of Greece, Turkey, Croatia and India.

Week 7 Analysis of Fanfare for the Warrior by the Art Ensemble of Chicago.

Week 8 Analysis of metric modulation and complex mixed meter drawn from folk music as well as contemporary jazz.

Week 9 Analysis of cluster and tonal grouping based “theory” in the music of Cecil Taylor, Muhal Richard Abrams, Butch Morris and other proponents of “free” jazz.

Week 10 Examination of Afro-folkloric traditions with special attention to multi-layered textures in the music of “Los Muñequitos de Matanzas”.

Week 11 Analysis of the evolution of a masterpiece: The Afro Cuban Jazz Suite; the language of Charlie Parker compared to the language of Rudresh Mahanthappa.

Week 12 Analysis of funk and syncopated rhythmic structures as well as their corollary tonal organization in the music of James Brown and James Blood Ulmer.

Week 13 Analysis of alternative methods of improvisational organization including sound design, noise rock, techno music and the intersection of jazz and groove.

Week 14 Review session.

Method of Assessment Students will be graded on assignments as noted above, and progress noted in individual conference. In addition, student evaluations will be used to demonstrate if goals are being met.

Selected Bibliography: Clayton, Martin. Time in Indian Music: Rhythm, Metre, and Form in North Indian Rag Performance (Oxford, 2008)

Ekkehard, Jost, Free Jazz: The Roots of Jazz (Da Capo Press 1994)

Fernandez, Raul. From Afro-Cuban Rhythms to Latin Jazz (University of California Press, 2006).

Kubik, Gerhard. Theory of African Music, Volumes I & II. (University of Chicago Press, 2010).

Mulholland, Joe, and Tom Hojnacki. The Berklee Book of Jazz Harmony (Berklee Press, 2013)

Schreiner, Claus. Flamenco: Gypsy Dance and Music from Andalusia (Amadeus Press, 2003)

Slobin, Mark. Fiddler on the Move: Exploring the Klezmer World (Oxford, 2003).

Strauss, Joseph N. Introduction to Post Atonal Theory (Pearsons, 2004)

Tenzer, Michael, and John Roeder, eds. Analytical and Cross Cultural Studies in World Music (Oxford University Press, 2011)

Terefenko, Dariusz. Jazz Theory: From Basic to Advanced Study (Routledge, 2014)

MUSC 7380X Jazz Arranging and Orchestration (new course) 45 hours, 3 credits

Course Description: Technical and aesthetic aspects of jazz arranging and orchestration. Analysis of historically important works for large and small jazz ensemble, with an emphasis placed on the traditional big band.

Prerequisite: Matriculation for the M.M. in Jazz performance

Rationale: Jazz arrangers and orchestrators work in every facet of the music industry. Their skills and flexibility place them in a field of their own, where they straddle the worlds of musical theater, film scoring, classical orchestration, and popular music.

The artistic jazz market is varied and requires an arranger who is as comfortable writing string quartets as big band charts. In today’s marketplace the traditional large ensemble is no longer the norm and a wide variety of configurations and instrumentations exist. The 21st century jazz arranger must be versatile and trained in a wide variety of styles.

--Well crafted, original term projects on musical topics at an advanced level.

---Familiarity and practical experience with technologies required for the student’s program (e.g., notation software, presentation software, composition software, etc.).

--Demonstrated ability to create original musical compositions (acoustic, electronic, or both) at an advanced level.

--Demonstrated knowledge of and practical experience with the compositional techniques and notational practices of composers from the recent past.

--Ability to describe (and support) the compositional aesthetic or principles that have stimulated or guided their new works.

Objectives of Course:

1. Develop a working knowledge of styles and writing arrangements that authentically reflect a variety of jazz styles.

2. Provide tools for understanding the idiomatic use of all major instrumental groups.

3. To cultivate productivity and efficiency in score production.

Outcomes anticipated for Course:

1. To produce at least 3-4 small ensemble arrangements and 2 large ensemble arrangements.

2. To orchestrate an existing piano composition drawn from any source into a contemporary ensemble of flexible instrumentation.

3. To rearrange an existing arrangement or composition in a transformative manner.

Course Outline: Week 1 Notation software, basics and advanced.

Week 2 Woodwind writing, concept, transpositions and techniques.

Week 3 Brass writing, concept, transpositions and techniques.

Week 4 The rhythm section.

Week 5 String writing, concept, transpositions and techniques.

Week 6 Latin, African and world rhythms and instrumentation.

Week 7 Analyzing scores, Duke Ellington, Gil Evans, Stan Kenton, Chico O’Farrill.

Week 8 Continuing analysis, Nelson Riddle, Gil Goldstein, Frank Foster.

Week 9 Blended ensembles, Afro Cuban Big Bands, Brazilian ensembles, the work of Hermeto Pascoal.

Week 10 New Techniques, How to write for turntable, advanced funk studies, guitar basics

Week 11 Rearranging, segmenting, re-harmonization, and changing melodic contours to new meters and rhythms.

Week 12 Advanced drum and percussion notation.

Week 13 Electronic basics, sequencing, logic, Ableton, programming and integration of electronic and acoustic ensembles

Week 14 Review session.

Methods of Evaluation Students will be assessed by written and performance assignments. 30% small ensemble arrangements, 40% large ensemble arrangements, 30% quizzes and examinations.

Method of Assessment Students will be graded on assignments as noted above, and students given feedback in private consultation. In addition, student evaluations will be used to demonstrate if goals are being met.

Selected Bibliography: Adler, Samuel. The Study of Orchestration, WW Norton and Company, NY, 2002

Dobbins, Bill, Jazz Arranging and Composing: A Linear Process, Advance Music, NY 1986.

Nelson Riddle. Arranged by Nelson Riddle. Alfred Music, 1985.

Mike Tomaro. Instrumental Jazz Arranging: A Comprehensive and Practical Guide. Hal Leonard, 2009.

MUSC 7546X Jazz Composition (new course) 45 hours, 3 credits A comprehensive approach to jazz composition and arranging with an emphasis on producing a final written score/arrangement.

Prerequisite: Matriculation to the M.M. Jazz program.

Rationale: Jazz composition is a relatively new study but at least as old a discipline as jazz performance. The contemporary jazz composition student must be prepared in many techniques. Notation software, analysis, and mentored guidance will develop the jazz composer into a producing professional with a myriad of career possibilities.

--Well-crafted, original term projects on musical topics at an advanced level.

---Familiarity and practical experience with technologies required for the student’s program (e.g., notation software, presentation software, composition software, etc.).

--Demonstrated ability to create original musical compositions (acoustic, electronic, or both) at an advanced level.

--Demonstrated knowledge of and practical experience with the compositional techniques and notational practices of composers from the recent past.

--Ability to describe (and support) the compositional aesthetic or principles that have stimulated or guided their new works.

Objectives of Course

Demonstrate the ability to create original jazz compositions at an advanced level To guide the self-designed aesthetic of the composer and to create new voices in jazz To equip the young composer with a palette of technical and musical languages in which to execute their craft.

Outcomes anticipated for Course: The creation of at least 3-5 small ensemble works. The creation of one extended multi-movement work. The performance of at least one or all of the above works.

Course Outline: Week 1 Introduction – Jazz as composition in performance; jazz as pre-scored arrangement.

Week 2-3 Survey jazz compositions from early New Orleans through swing through modern.

Week 4 Survey the great jazz composers including Duke Ellington, Charles Mingus, Dizzy Gillespie, Thelonious Monk, Chico O’Farrill, etc.

Week 5: Notation systems and software programs.

Week 6-7 From narrative and concept to initial sketches and first drafts.

Week 8-10 Writing orchestrations and final drafts.

Week 11-14 Rehearsal techniques and final performance.

Methods of Evaluation 20% Sketches and first drafts, 20% orchestrations and final drafts, 30% Finals Edits and scores, 30% performance and rehearsal.

Methods of Assessment Students will be graded on assignments as noted above, and students given feedback in private consultation.

Selected Bibliography: Pease, Ted. Jazz Composition: Theory and Practice (Berklee Press, 2003)

Russo, William. Jazz Composition and Orchestration (University of Chicago Press, 1996)

Sussman, Richard. Jazz Composition and Arranging in the Digital Age (Oxford University Press, 2012)

MUSC 7855X Global Improvisation (new course) 45 hours, 3 credits

Course Description: Survey techniques used in improvisation throughout the world. Approaches in scale organization as well as metric and rhythmic concepts. Integration of global improvisation and established jazz techniques.

Prerequisite: Matriculation for the M.M. in Jazz performance

Rationale: The best practitioners of jazz are well versed in the different methods of improvisation throughout the world. Learning the techniques of other cultures improves our ability rhythmically, harmonically and conceptually, while enlarging an improvisor’s palette of tools.

The ability to sound unique stems from a willingness to examine the work of global improvisatory systems. This results in an identity and style that is easily identifiable but not easily replicated.

--Well-crafted, original term projects on musical topics at an advanced level.

---Familiarity and practical experience with technologies required for the student’s program (e.g., notation software, presentation software, composition software, etc.).

Objectives of Course:

To gain an understanding of the historical and social settings for different improvisational practice in international music. To have a greater personal freedom in improvisational technique. To be influenced and inspired as composers and performers by music and improvisational practice from other cultures.

Outcomes anticipated for Course

To be able to demonstrate fluency in 3-5 alternate scale and harmony structures. To be able to demonstrate fluency in 3-5 alternate rhythm and metric settings To create an improvisatory setting that encompasses a wide range of world music.

Course Outline: Week 1 Rhythmic studies, improvisation using just percussion.

Week 2 Continuation of Rhythmic studies with an emphasis on African rhythms.

Week 3 Continuation of Rhythmic studies with an emphasis on Afro Latino rhythms.

Week 4 Tala and Indian rhythm studies.

Week 5 Metric modulation and the music of Venezuela.

Week 6 Middle Eastern Scales and harmony.

Week 7 Eastern European Scales and Harmony.

Week 8 Ragas and Indian harmony.

Week 9 Vocal improvisation, throat singing and “soneando”.

Week 10 Instrumental improvisation, integration of rhythmic studies and instrumental soloing.

Week 11 Jazz improvisation basics from Dixieland through swing.

Week 12 Jazz improvisation basics, bebop and beyond.

Week 13 The integration of world techniques and free jazz, The Art Ensemble of Chicago.

Week 14 Review session.

Method of Assessment Students will be graded on assignments as noted above, and students given feedback in private consultation. Students evaluations will be used to assessment course adherence to stated goals.

Selected Bibliography: Stephen Nachmanovitch. Free Play: Improvisation in Life and Art. Putnam, 1991.

Bruno Nettl, Melinda Russell, eds. In The Course of Performance, Studies in the World of Musical Improvisation. Chicago, 1998.

Paul Berliner. Thinking in Jazz : The Infinite Art of Improvisation. Chicago, 1994.

MUSC 7860X History of Jazz I (change in original course) 45 hours; 3 credits Survey of styles, genres, and forms of jazz from its origin to 1950. Analysis of selected works. Prerequisite: Music U7400G [740G] or the equivalent.

Rationale: Adequate coverage of the entire 100+ year sweep of jazz history has become impossible in one 14-week term, especially as the genre has become more and more widely defined. Dividing the upper-level undergraduate jazz history course into two sections will allow more concentrated study on important issues, musicians, and styles. In addition, this course will view jazz as a global phenomenon, in keeping with the Conservatory’s burgeoning interest in global jazz studies.

Objectives of Course:

--to introduce students to major styles periods, artists, and recordings in jazz before 1950 (the time at which bebop, created in the 1940s, clearly began to fracture into a variety of related styles), while helping students to questions established theories about jazz’s evolution and its recording “canon,” as promoted by scholars since the 1970s;

--to help students understand and appreciate both recorded and live jazz performances, through listening guides, transcriptions, film, and contextualized performance attendance;

--to expose students directly to jazz artists by inviting professionals to speak in the classroom;

--to help students understand jazz’s contexts of race, class, and gender;

--to illustrate the multi-cultural heritage of jazz from its early incarnations of the 1910s to 1950.

Outcomes Anticipated for Course:

Students will acquire familiarity with significant artists, groups, and style movements in the first “half” of jazz history, while understanding that much important music and musicians was, for a variety of reasons, never recorded. Students will come to see jazz not as simply a musical gift of the United States (i.e., “America’s Classical Music”) but a truly global phenomenon from its early history, with influences from a variety of the world’s cultures.

Course Outline

Week 1. Introduction

Week. 2. Listening to Jazz

Week 3. 19th-century origins of jazz

Week 4. Early Jazz in New Orleans

Week 5. King Oliver

Week 6. Jelly Roll Morton

Week 7. Louis Armstrong

Week 8. Early Duke Ellington

Week 9. Jazz in Europe

Week 10. The Swing Era

Week 11. King of Swing: Benny Goodman

Week 12. Elington in the 40s

Week 13. Count Basie and Lester Young

Week 14. Presentations

Week 15. Presentations MUSC 7861X History of Jazz II (new course) 45 hours; 3 credits Survey of styles, genres, and forms of jazz from 1950 to the present. Analysis of selected works.

Prerequisite: Music U7400G [740G] or the equivalent.

Frequency of offering: Every spring or every other fall, depending on enrollment

Projected enrollment: 10 students per year

Clearances: None

Rationale : Adequate coverage of the entire 100+ year sweep of jazz history has become impossible in one 14-week term, especially as the genre has become more and more widely defined. Dividing the upper-level undergraduate jazz history course into two sections will allow more concentrated study on important issues, musicians, and styles. In addition, this course will view jazz as a global phenomenon, in keeping with the Conservatory’s burgeoning interest in global jazz studies.

Program/ Department Goals Addressed by Course:

--Stylistic Understanding. Ability to identify (at sight) and discuss at an advanced level musical recordings in terms of period, genre, possible composer or artist, and identifying musical traits. --Analytical Skills. Ability to listen to, analyze, explain, and discuss at an advanced level a recording, musical score or transcription i.e. with sufficient sophistication and appropriate attention to details such as key areas, harmonies, motives, rhythm, phrasing, texture, dynamics, register, color, text-music relationships, serial techniques, musical grammar and rhetoric, etc. --Terminology. Understand the musical terminology pertaining to the history of jazz. Music-education students will also be expected to demonstrate knowledge of terminologies from recognized standard pedagogies in music. (The required vocabulary list for study will be updated periodically to reflect new trends in the field.) --Effective Communication. Well crafted, original term projects or well documented, cogently organized research papers on musical topics at an advanced level. --Demonstrated ability to research and write in a critical and well documented fashion about a variety of musical topics in the areas of music history, theory, and analysis. --Familiarity with the major periods, styles, genres, trends, and cultural contexts for the history of jazz. --Proven familiarity with the richness and diversity of American music. --Acquaintance with the best practices for the research of music of all kinds.

Objectives of Course:

--to introduce students to major styles periods, artists, and recordings in jazz after 1950 (the time at which bebop, created in the 1940s, clearly began to fracture into a variety of related styles), while helping students to questions established theories about jazz’s evolution and its recording “canon,” as promoted by scholars since the 1970s;

--to help students understand and appreciate both recorded and live jazz performances, through listening guides, transcriptions, film, and contextualized performance attendance;

--to expose students directly to jazz artists by inviting professionals to speak in the classroom;

--to help students understand jazz’s contexts of race, class, and gender;

--to illustrate the multi-cultural heritage of jazz from its “modern” incarnation of the 1940s to the present day, with the help of artists from both the U.S. and abroad.

Outcomes Anticipated for Course:

Students will acquire familiarity with significant artists, groups, and style movements in the second “half” of jazz history, while understanding that much important music and musicians was, for a variety of reasons, never recorded. Students will come to see jazz not as simply a musical gift of the United States (i.e., “America’s Classical Music”) but a truly global phenomenon from its early history, with influences from a variety of the world’s cultures.

Course Outline

Week 1. Introduction; Brief review of jazz to 1950.

Week. 2. Miles Davis and Birth of the Cool

Week 3. Miles Davis’s Quintet (1)

Week 4. Big Band Jazz of the 1950s

Week 5. Ornette Coleman

Week 6. Randy Weston and Melba Liston

Week 7. Pianists: Thelonious Monk, Cecil Taylor, Lennie Tristano

Week 8. John Coltrane in the 1960s

Week 9. Miles Davis’s Quintet (2)

Week 10. AACM and the Art Ensemble of Chicago; Sun Ra

Week 11. Jazz, Rock, and Soul in the 1970s

Week 12. Afro-Cuban Music in Jazz, 1970s-80s

Week 13. Jazz and Hip Hop

Week 14. Presentations

Week 15. Presentations

Method of evaluation: There will be no midterm or final exam, but grading will be determined by a midterm writing assignment, a final paper and presentation, and participation in weekly discussions. Students will be required two write a 12-15 page final paper.

Method of assessment: Writing assignments will be evaluated as to how they prove rigorous study of the presented materials; paper and presentations will be judged according to clarity and ability to contextualize musical issues; the professor will keep a running evaluation of contributions made by students to the success of the class.

Bibliography:

Scott DeVeaux and Gary Giddins. Jazz 2nd Ed. NY: Norton, 2015. Benjamin Bierman. Listening to Jazz NY: Oxford, 2015. Ted Gioia. The History of Jazz. 2nd Ed. NY: Oxford, 2011. Stuart Nicholson. Jazz and Cultural in a Global Age. Boston: Northeastern, 2014. Robert Gottlieb, ed. Reading Jazz. NY: Vinatge, 1999. Robert Walser. Keeping Time: Readings in Jazz History. 2nd Ed. NY: Oxford, 2014.

MUSC 7851X Music of the World's People (new course) 45 hours; 3 credits

Course Description Cross-cultural studies of world music repertories. Development of new perspectives on music and its role in diverse societies. Emphasis on the ways in which musicians acquire and exercise their art and on the uses and meanings of music.

Prerequisites: Matriculation to MM program in Jazz performance, or permission of the Director.

Rationale: This course provides a cross-cultural overview of musical practices and repertories from around the world. The focus will be on the relationship between music structure (the organization of sound as studied through form, texture, rhythm, harmony, melody, etc) and social structure, with an emphasis on how music is practiced and how it functions in different cultural contexts. Toward this end the course will survey music making in various settings including formal concerts, religious ritual, dance/recreation, festivals/celebrations, and the global market place. Examples will be draw from the music cultures of Latin America, the Caribbean, the southern United States and Brooklyn, West Africa, Eastern Europe, the mid-East, India, and the far-East. Further emphasis will be on the movement of music across various geographic, political, and cultural borders and its practice in a variety of contemporary transnational settings.

The course will be useful to Master’s degree seeking students in the fields of Global Jazz, New Music, Sonic Arts, Film Scoring, and Composition who want to become familiar with systems of musical organization, practice, and repertoires outside of the Western classical canon. Such knowledge is now indispensable for practicing musicians, music educators, and composers who find themselves operating in an increasing diverse and globally connected world.

--Well-crafted, original term projects on musical topics at an advanced level.

---Familiarity and practical experience with technologies required for the student’s program (e.g., notation software, presentation software, composition software, etc.).

Objectives of Course:

1) To familiarize students with the history and development of various music cultures of Latin America, the Caribbean, the southern United States ( and Brooklyn), West Africa, Eastern Europe, the mid-East, India, and the far-East.

2) To familiarize students with the stylistic characteristics (form, texture, rhythm, harmony, melody, etc.) for music cultures from the above mentioned geographic areas.

3) To familiarize students with the way music functions within various social settings including formal concerts, religious ritual, dance/recreation festivals/celebrations, etc.

4) Explore the transitional dimensions of musical practice with regard to diaspora, hybridity, etc.

Outcome Anticipated for Course:

1) Develop skills in researching and writing a well-documented, critical paper on a topic in the areas of music history, theory, and/or analysis.

2) Develop skills in documenting a local music culture through audio visual recording and interviewing in the field.

3) Demonstrate skills in translating field research into a written ethnography and a media presentation.

Methods of Evaluation Students will be assessed by written and in-class assignments, and exam. 30% formal class presentation, 20% classroom participation, 30% final paper and 20% midterm and final examinations.

Method of Assessment Students will be graded on assignments as noted above, and students given feedback in private consultation.

Course Outline: Week 1 Introduction: Worlds of Music and key concepts

Week 2 The “music culture as organized sound, musical practice, social organization, and ideas about music.

Week 3 Music and Dance I: West African drumming and dance traditions

Week 4 Music and Dance II – Celtic fiddle and dance traditions in Ireland and Brooklyn

Week 5 Music and Diaspora I: Neo African music in the Caribbean—Cuban rumba and Puerto Rican Bomba.

Week 6 Music and Diaspora II: Jewish klezmer, Balkan brass bands, and Indo-Pakistani Bangara music in Brooklyn

Week 7 Music and Religion I: African American Spirituals, Cuban/New York Santeria, Haitian Vodoun, Brazilian Candomble

Week 8 Music and Religion II: North African Sufi music, Brooklyn Hasidic song and chant.

Week 9 Music and Ritual: Indonesian Gamelan wedding and birthing ceremonial musics.

Week 10 Music and the Courts: East Indian Hindustani and Karnataka classical traditions, Japanese Koto music

Week 11 Music and Festival I: Carnival music in Trinidad, Brazil, and New Orleans

Week 12 Music and Festival II – Andean panpipe traditions form Chile and Peru

Week 13 The commodification of local music cultures as “World Music” I: Nuyorican salsa, Jamaican reggae, and Trinidadian soca.

Week 14 The commodification of local music cultures as “World Music” II: Nigerian Highlife and Afrobeat, Paul Simon discovers South African jive and choral music.

Week 15 Global Jazz and New Music Fusions: The transnational music of Randy Weston (West African), Vijay Iyer (East Indian), Machito (Afro-Cuban), and the Kronos Quartet.

Select Bibliography: Barz, George, and Timothy Cooley, editors. Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology (Oxford University Press, 2nd Edition, 2008). Guilbault, Jocelyn. Governing Sound: The Cultural Politics of Trinidad’s Carnival Music (University of Chicago, 2007).

Miller, Terry. World Music: A Global Journey (Routledge, 2012).

Post, Jennifer, editor. Ethnomusicology: a Contemporary Reader (Routledge, 2006).

Slobin, Mark. Fiddler on the Move: Exploring the Klezmer World (Oxford University Press, 2000).

Ruckert, George. Music in North India: Experiencing Music, Expressing Culture (Oxford University Press, 2003).

Stone, Ruth. Music in West Africa: Experiencing Music, Expressing Culture (Oxford University Press, 2004).

Titon, Jeff et al. Worlds of Music: An Introduction to the Music of the World's Peoples (Schirmer Books, 5th Edition, 2008).

Turino, Thomas. Moving Away from Silence: Music of the Peruvian Altiplano and the Experience of Urban Migration (University of Chicago, 2010).

Wade, Bonny. Thinking Musically: Experiencing Music, Expressive Culture (Oxford University Press, 2004).

Waxer, Lise, editor. Situating Salsa: Global Markets and Local Music Making in Latin Popular Music (Routledge, 2002).

Weston, Randy. African Rhythms: The Autobiography of Randy Weston (Duke University Press, 2010).

Wolf, Richard, editor. Theorizing the Local: Music, Practice, and Experience in South Asia and Beyond (Oxford University Press, 2009).

Zheng, Su. Claiming Diaspora: Music Transnationalim, and Cultural Politics in Asian/Chinese America (Oxford University Press, 2010).

MUSC 7190X Jazz Pedagogy (new course) 45 hours, 3 credits

Course Description: Survey various methods and techniques for teaching jazz performance to students at the secondary school and college levels and in private lessons. Organizing and rehearsing large and small bands; choosing appropriate repertoire; teaching jazz-related harmonies, rhythms, and improvisational techniques; approaches to the one-on-one lesson; methods of learning assessment.

Prerequisite: Matriculation to Jazz M.M. Program or Permission Director

Rationale: Many jazz performers become jazz teachers out of economic necessity and their desire to pass on their craft to younger players. Too often they do this on the fly, with little formal training on how to teach technique, theory, and improvisation to individuals (via the one- on-one lesson) or in a group setting (via leading large and small jazz ensembles). This course will prepare our jazz students to become jazz teachers by exposing them to the latest methods and techniques of jazz pedagogy, and offering practical experience in leading ensembles.

Program/ Department Goals Addressed by Course:

- Ability to identify essential methods for teaching performance technique for particular instrument groups including piano, strings, brass, woodwinds, and percussion.

-Ability to organize and chose appropriate repertoire for small ensembles including classical chamber, jazz, new music, sonic arts, and world music groups.

- Ability to formally conduct large ensembles including orchestra, large jazz band, and woodwind band.

- Understand the musical terminology pertaining to the theory, composition, and performance of music. Demonstrate knowledge of terminologies from recognized standard pedagogies in music. (The required vocabulary list for study will be updated periodically to reflect new trends in the field.)

Objectives of Course:

1. To explore various methods for teaching instrumental techniques specific to jazz piano, brass, woodwinds, bass, and drums.

2. To explore various methods for teaching instrumental improvisation in within the framework of jazz harmonies, melodies, and rhythms.

3. To review techniques and best practices for leading a small jazz ensemble and formally conducting a large jazz ensemble.

4. To learn how to choose appropriate repertoire and organize a jazz program.

Outcomes anticipated for Course:

1. Demonstrate competency in teaching jazz technique on at least two instruments in small class and one-to-one lesson situations.

2. Demonstrate competency in teaching improvisational methods in small class and one-to- one lesson situations.

3. Demonstrate competency leading a small jazz ensemble and conducting a large jazz ensemble.

4. Choose repertoire and prepare a full hour-long jazz program.

Course Outline

Week 1 – Introduction to general methods of jazz pedagogy and organizing curriculum

Week 2 -- Approaches to teaching jazz history and appreciation

Week 3 – Pedagogy of Jazz Theory and Composition

Week 4 – Approaches to teaching jazz harmonies in the classroom

Week 5 – Approaches to teaching jazz improvisation in the classroom

Week 6 – Approaches to teaching jazz technique and improvisation in the one-on-one lesson

Week 7 – Approaches to organizing and coordinating the jazz rhythm section

Week 8 – Approaches to coordinating and voicing the jazz horn and woodwind sections

Week 9-11 – The small jazz ensemble – organization and coordination

Week 12-13 – The large jazz ensemble – organizing and conducting techniques

Week 14 – Repertoire Selection and Programming Decisions

Week 15 – Producing a Jazz Festival

Methods of Evaluation Students will be assessed by a series of pedagogy projects: 25% organizing curricular modules for teaching jazz history/theory/composition; 25% demonstrating ability to choose repertoire and lead a small ensemble; 25% demonstrating ability to choose repertoire and lead a large ensemble; 25% demonstrating ability to teach technique and improvisation in the one-on one lesson setting.

Selected Bibliography:

Coker, Jerry. The Teaching of Jazz (Advanced Music, 2015)

Dunscomb, Richard. Jazz Pedagogy: The Jazz Educator's Handbook and Resource Guide (Warner Brothers Music, 2003)

Prouty, Ken. Knowing Jazz: Community, Pedagogy, and Canon in the Information Age (University of Mississippi Press, 2013)

MUSC 7441X Introduction to Music Business & Marketing (new course) 45 hours; 3 credits

Course Description Introduction to activities associated with the music business, including working at labels, distribution companies, publishing companies, recording studios, artist management, promotion, producing, and legal counsel. A broad overview of the music industry, and explanation of how its various segments operate on a day-to-day basis: where monies are generated, who the key players are, how deals are made and broken, how interests are protected, and new developments in digital technology that are changing the way that music is marketed, promoted, distributed, and heard.

Prerequisites: Matriculation to MM program in Jazz performance, or permission of the Director.

Rationale: The business of music is a global multi-billion dollar industry, and students hoping to find success in the field, whether as performers, producers, engineers, or other occupations, must have an understanding of how the various economic and social elements of the industry fit together. This class will assist students with the development of business related knowledge and skills necessary for effectively maintaining a professional music career. The course will serve both the student wishing to increase his/her understanding of common business practices related to the music industry, and the student who is considering further study of music business/management.

Program/ Department Goals Addressed by Course: 1. Performance and Creative Skills Students will learn to promote their performance and creative skills, through concerts, recordings, and other media. 2. Effective Communication Students will gain ability to write and speak about their artistic endeavors with precision and clarity. They will demonstrated fluency with technologies (such as the Internet) required for a successful music career.

Objectives of Course:

1. Develop an understanding of the fundamentals of the recorded music industry, as well as learning the difference between the record business and the music industry as a whole. 2. Understand why industries change, what the trajectories of change are, and how the music industry coped with radical change. 3. Gain a firm understanding of the foundational best practices involved with all successful music marketing campaigns. 4. Develop an integrated approach to music marketing in the focus areas of Press/Promotion, Advertising, Publicity, Digital Retail Distribution, Touring, Licensing, and Radio 5. Understand online music distribution and retail: the terms, deals, formats, options, and key companies to work with. 6. Know the PR outlets that matter – national, regional, local, specialized and trade press – how and when to communicate to them, and when to hire outside help. 7. Understand how radio promotion works, and learn when you should consider an independent promotion

Outcomes Anticipated for Course:

1. Recognize the structure of, and relationship between, the recording, music publishing, marketing and live performance industries. 2. Learn about different career and income opportunities, and develop a strategy to break in and succeed in the music industry. 3. Understand the business aspects involved in the producing, manufacturing, marketing, distributing and other use of recordings and the live performance trade.

Methods of Evaluation Class participation, 10%; Midterm Exam, 40%; Group project, 50%.

Method of Assessment Students will be graded on assignments as noted above, and students given feedback in private consultation.

Course Outline:

Week 1. Introduction Overview of the Music Industry; Structure 2. History and Basics of Copyright 3. Basics of Copyright (cont.) 4. Music Publishing and Performance Rights Societies 5. Record Contracts 6. Recording Producers and Procedures 7. Mid-Term Exam 8. Record Company Structure 9. Music and the Internet 10. Record Promotion and Distribution 11. Musical Products 12. Artist Management 13. Music for Film and TV 14. Music Industry Unions; Music in Radio 15. Projects Presentations

Select Bibliography: Donald S. Passman. All You Need to Know About the Music Business: Sixth Edition (Free Press, 2003)

Daylle Deanna Schwartz. Start and Run Your Own Record Label, Revised and Expanded Edition. (Watson-Guptill Publications, November 2003)

M. William Krasilovsky, et al. This Business of Music: The Definitive Guide to the Music Industry. (Watson-Guptill Publications, 2003)

Peter M. Thall. What They'll Never Tell You About the Music Business: The Myths, Secrets, Lies (& a Few Truths). (Watson-Guptill Publications, 2002)

David Naggar. The Music Business (Explained In Plain English): What Every Artist And Songwriter Should Know To Avoid Getting Ripped Off! (Daje' Publishing, 2nd edition, 2003)

Richard Schulenberg. Legal Aspects of the Music Industry: An Insider's View. Watson-Guptill Publications, 1999)

Tad Lathrop, Jim Pettigrew. This Business of Music Marketing and Promotion. (Billboard Books, 2nd edition, 1999)

Bobby Borg. The Musician's Handbook: A Practical Guide to Understanding the Music Business. (Watson-Guptill Publications, 2003)

MUSC U7950G Master's Recital (existing course) Hours to be arranged; 3 credits

Course Description: Preparation of a master's recital supervised by a faculty member. Prerequisite: approval of program and level of work by the student's graduate committee.

Learning Objectives: - Gain familiarity with a range of (jazz) repertoire for one’s primary instrument or voice. - Technical advancement and musical maturity in public performance at a professional level.

Outcomes Assessment: - Evaluation of musicianship and performance ability by appropriate instrumental or voice faculty at an hour-long public recital.

MUSC U7930X Thesis Research (existing course) Hours to be arranged; 3 credits Research for master's thesis supervised by faculty member. Students register for this course only once. Credit is not earned until the thesis is accepted. Prerequisite: permission of the director.

Learning Goals: - Develop ability to undertake advanced bibliographic and field interview research on an appropriate topic in the area of music (jazz) history, theory, and analysis. - Develop ability to write in a critical and well documented fashion about an appropriate topic in the area of music (jazz) history, theory, and analysis.

Outcomes Assessment: - Completion of a 50-75 page original research paper demonstrating strong analytical and writing skills under the supervision of an appropriate faculty member.

Projected Revenue Related to the Proposed Program

1st Year 2nd Year 3rd Year 4th Year 5th Year † † † † Revenues[1] Academic Year[2] Academic Year Academic Year Academic Year Academic Year Tuition Revenue[3] 01. From Existing Sources[4] $50,650 $103,326 $2,107,850 $2,150,007 $2,193,008 02. From New Sources[5] $50,650 $0 $0 $0 $0 03. Total $50,650 $0 $0 $0 $0 Other Revenue[7] 07. From Existing Sources§ $0 $0 $0 $0 $0 08. From New Sources** $0 $0 $0 $0 $0 09. Total $0 $0 $0 $0 $0 Grand Total[8] 10. From Existing Sources§ $50,650 $103,326 $2,107,850 $2,150,007 $2,193,008 11. From New Sources** $101,300 $103,326 $2,107,850 $2,150,007 $2,193,008 TOTAL $101,300 $103,326 $2,107,850 $2,150,007 $2,193,008

[1] Specify the inflation rate used for projections. [2] Specify the academic year. [3] Please explain how tuition revenue was calculated. [4] Existing sources means revenue generated by continuing students. Please rember to account for attrition and graduation rates [5] New sources means revenue engendered by new students. The revenue from new sources from one year should be carried over to the next year as revenues from continuing sources with adjustments for inflation. [6] Public institutions should include here regular State appropriations applied to the program. [7] Specify what is included in "other" category. [8] Enter total of Tuition, State and Other Revenue, from Existing or New Sources.

Copy of Copy of B7-Senior-College-Financial-Tables-Graduate 84 Table 5: New Resources Year 1 Year 2 Year 3 Year 4 Year 5 Expenditures Academic Year2 Academic Year† Academic Year† Academic Year† Academic Year† Full Time Faculty $ - $ - $ - $ - $ - Part Time Faculty $ 34,804.00 $ 34,804.00 $ 34,804.00 $ 34,804.00 $ 34,804.00

Full Time Staff $ - $ - $ - $ - $ - Part Time Staff $ 12,430.00 $ 12,430.00 $ 12,430.00 $ 12,430.00 $ 12,430.00 Library (Includes Staffing) $ - $ - $ - $ - $ -

Equipment $ - $ - $ - $ - $ -

Laboratories $ - $ - $ - $ - $ -

Supplies & Expenses $ - $ - $ - $ - $ - (Other than Personal Services) Capital Expenditures $ - $ - $ - $ - $ -

Other $ - $ - $ - $ - $ -

Total all $ 47,234.00 $ 47,234.00 $ 47,234.00 $ 47,234.00 $ 47,234.00

[1] Specify the inflation rate used for projections.

[2] Specify the academic year. [3] Include fringe benefits.

[4] New resources means resources engendered specifically by the proposed program. The new resources from the previous year should be carried over to the following year, new resources with adjustments for inflation, if a continuing cost. [5] Specify what is included in "other" category, (e.g.,student financial aid).

Copy of Copy of B7-Senior-College-Financial-Tables-Graduate 83 Supporting Material Expenditures (Graduate)

DIRECT OPERATING EXPENSES Year 1 Year 2 Year 3 Year 4 Year 5

Include additional expenses incurred by other programs when satisfying needs of new program. Faculty need should be commensurate with "net section needs" based on enrollment (see "Enroll & Seat Need Projections" tab)

Current Full Time Faculty Overload (include Summer) 0 0 0 0 0 New Full Time Faculty Base Salary (list separetely) New Full Time Faculty Overload (include Summer) New Faculty Re-assigned Time (list seperately) Full Time Employee Fringe Benefits (41.6%) 0 0 0 0 0 Total (Links to Full-Time Faculty on Program Exp Worksheet) $ - $ - $ - $ - $ -

Part Time Faculty Actual Salaries 28,000 28000 28000 28000 28000 Part Time Faculty Actual Fringe Benefits (24.3%) 6804 6804 6804 6804 6804 Total (Links to Part-Time Faculty Program Exp Worksheet) $ 34,804.00 $ 34,804.00 $ 34,804.00 $ 34,804.00 $ 34,804.00

Full Time Staff Base Salary (list separetely) Full Time Staff Fringe Benefits (41.6%) 0 0 0 0 0 Total (Links to Full-Time Staff on Program Exp Worksheet) $ - $ - $ - $ - $ -

Year 1 Year 2 Year 3 Year 4 Year 5 PART-TIME STAFF (do not include library staff in this section) Part Time Staff Base Salary (list separately) 10,000 10,000 10,000 10,000 10,000 Faculty Replacement Costs (replacement of full-time faculty - e.g. on release time - with part-time faculty) Graduate Assistants Student Hourly Part Time Employee Fringe Benefits (24.3%) 2430 2430 2430 2430 2430 Total (Links to Part-Time Staff on Program Exp Worksheet) $ 12,430 $ 12,430 $ 12,430 $ 12,430 $ 12,430

LIBRARY Library Resources Library Staff Full Time (List Separately) Full Time Staff Fringe Benefits (41.6%) 0 0 0 0 0 Library Staff Part Time (List Separately) Part Time Employee Fringe Benefits (24.3%) 0 0 0 0 0 TOTAL (Links to Library on Program Exp Worksheet) $ - $ - $ - $ - $ -

EQUIPMENT Computer Hardware Office Furniture Other (Specify) Total (Links to Equipment on Program Exp Worksheet) $ - $ - $ - $ - $ -

LABORATORIES Laboratory Equipment Other (list separately) TOTAL (Links to Laboratories on Program Exp Worksheet) $ - $ - $ - $ - $ -

Year 1 Year 2 Year 3 Year 4 Year 5 SUPPLIES AND EXPENSES (OTPS) Consultants and Honoraria Office Supplies Instructional Supplies Faculty Development Travel and Conferences Membership Fees Advertising and Promotion Accreditation Computer Software Computer License Fees Computer Repair and Maintenance Equipment Repair and Maintenance New Total Supplies and OTPS Expenses (Links to Supplies on Program Exp Worksheet) $ - $ - $ - $ - $ -

CAPITAL EXPENDITURES Facility Renovations Classroom Equipment Other (list separately)

TOTAL (Links to Capital Expenditures on Program Exp Worksheet) $ - $ - $ - $ - $ -

Other (list separately)

TOTAL (Links to Other on Program Exp Worksheet) $ - $ - $ - $ - $ -

Copy of Copy of B7-Senior-College-Financial-Tables-Graduate 85 The Five-Year Revenue Projections for Program SENIOR COLLEGE (GRADUATE) WORKSHEET Fall 2017 EXISTING FULL-TIME STUDENTS Year One Year Two Year Three Year Four Year Five Tuition & Fees:

# of EXISTING FULL-TIME, In-State Students (linked from "Enroll & Seat Need Projections") 10 20 20 20 20

Tuition Income (calculates 2% increase per year after Fall 2015) $50,650 $103,326 $105,393 $107,500 $109,650 Total Tuition $506,500 $2,066,520 $2,107,850 $2,150,007 $2,193,008

Student Fees (enter ANNUAL program fees other than standard CUNY fees) Total Fees 0 0 0 0 0 Total In-State Tuition & Fees $50,650 $103,326 $2,107,850 $2,150,007 $2,193,008

Tuition & Fees:

# of EXISTING FULL-TIME, Out-of-State Students (linked from "Enroll & Seat Need Projections") 0 0 0 0 0 Annual Avg # of Credits per FT student (24-30)

Tuition Income (Specify Rate per credit. Calculates 2% annual increase after Fall 2015) $0 $0 $0 $0 $0 Total Tuition $0 $0 $0 $0 $0

Student Fees (enter ANNUAL program fees other than standard CUNY fees) Total Fees 0 0 0 0 0 Total Out-of-State Tuition & Fees $0 $0 $0 $0 $0

TOTAL EXISTING FULL-TIME TUITION REVENUE $50,650 $103,326 $2,107,850 $2,150,007 $2,193,008

EXISTING PART-TIME STUDENTS Year One Year Two Year Three Year Four Year Five Tuition & Fees:

# of EXISTING PART-TIME, In-State Students (linked from "Enroll & Seat Need Projections") 0 0 0 0 0

Total Enrolled Credits (Enter Avg # credits per student per year-Fall+ Spring+Summer -- i.e. 6 Fall, 6 Spring, 3 Summer=15)

Tuition Income (Specify Rate per credit. Calculates 2% increase per year after Fall 2015) $0 $0 $0 $0 $0 Total Tuition $0 $0 $0 $0 $0

Student Fees (enter ANNUAL program fees other than standard CUNY fees) Total Fees 0 0 0 0 0 Total In-State Tuition & Fees $0 $0 $0 $0 $0

Tuition & Fees:

# of EXISTING PART-TIME Out of State Students (linked from "Enrollment and Seat Need Projections") 0 0 0 0 0

Total Enrolled Credits (Enter Avg # credits per student per year-Fall+ Spring+Summer -- i.e. 6 Fall, 6 Spring, 3 Summer=15)

Tuition Income (Specify Rate per credit. Calculates 2% increase per year after Fall 2015) $0 $0 $0 $0 $0 Total Tuition $0 $0 $0 $0 $0

Student Fees (enter ANNUAL program fees other than standard CUNY fees) Total Fees 0 0 0 0 0 Total Out-of-State Tuition & Fees $0 $0 $0 $0 $0

TOTAL EXISTING PART TIME REVENUE $0 $0 $0 $0 $0

TOTAL EXISTING REVENUE (LINKS TO REVENUE SPREADSHEET ROW 5) $50,650 $103,326 $2,107,850 $2,150,007 $2,193,008

Copy of Copy of B7-Senior-College-Financial-Tables-Graduate 86-87 NEW FULL-TIME STUDENTS Year One Year Two Year Three Year Four Year Five Tuition & Fees: # of NEW FULL-TIME, In-State Students (linked from "Enroll & Seat Need Projections") 0 0 0 0 0 Tuition Income (Calculates 2% increase per year after Fall 2015) $0 $0 $0 $0 $0 Total Tuition $0 $0 $0 $0 $0 Student Fees (enter ANNUAL program fees other than standard CUNY fees) Total Fees 0 0 0 0 0 Total In-State Tuition & Fees $0 $0 $0 $0 $0

Tuition & Fees: # of NEW FULL-TIME, Out-of -State Students (linked from "Enroll & Seat Need Projections") 0 0 0 0 0 Annual Avg # of Credits per FT student (24-30) Tuition Income (Specify Rate per credit. Calculates 2% increase per year after Fall 2015) $0 $0 $0 $0 $0 Total Tuition $0 $0 $0 $0 $0 Student Fees (enter ANNUAL program fees other than standard CUNY fees) Total Fees 0 0 0 0 0 Total Out-of-State Tuition & Fees $0 $0 $0 $0 $0

TOTAL NEW FULL-TIME TUITION REVENUE $0 $0 $0 $0 $0

NEW PART-TIME STUDENTS Year One Year Two Year Three Year Four Year Five Tuition & Fees: # of NEW PART-TIME, In-State Students (linked from "Enroll & Seat Need Projections") 0 0 0 0 0

Total Enrolled Credits (Enter Avg # credits per student per year-Fall+ Spring+Summer -- i.e. 6 Fall, 6 Spring, 3 Summer=15) Tuition Income (Specify Rate per credit. Calculates 2% increase per year after Fall 2015) $0 $0 $0 $0 $0 Total Tuition $0 $0 $0 $0 $0 Student Fees (enter ANNUAL program fees other than standard CUNY fees) Total Fees 0 0 0 0 0 Total In-State Tuition & Fees $0 $0 $0 $0 $0

Tuition & Fees: # of NEW PART-TIME, Out-of-State Students 0 0 0 0 0

Total Enrolled Credits (Enter Avg # credits per student per year-Fall+ Spring+Summer -- i.e. 6 Fall, 6 Spring, 3 Summer=15) Tuition Income (Specify Rate per credit) calculates 2% increase per year $0 $0 $0 $0 $0 Total Tuition $0 $0 $0 $0 $0 Student Fees (enter ANNUAL program fees other than standard CUNY fees) Total Fees 0 0 0 0 0 Total Out-of-State Tuition & Fees $0 $0 $0 $0 $0

TOTAL NEW PART-TIME REVENUE $0 $0 $0 $0 $0

TOTAL NEW REVENUE (LINKS TO REVENUE SPREADSHEET ROW 7) $50,650 $0 $0 $0 $0

OTHER REVENUE Year One Year Two Year Three Year Four Year Five Other Revenue From Existing Sources (specify and explain)-LINKS TO REVENUE SPREADSHEET ROW 13) Other Revenue New (specify and explain) (LINKS TO REVENUE SPREADSHEET ROW 15)

Copy of Copy of B7-Senior-College-Financial-Tables-Graduate 86-87 I.B.2 – MEDGAR EVERS COLLEGE –ESTABLISHMENT OF THE DEPARTMENT OF SOCIAL WORK

RESOLVED, that the Department of Social Work be established at Medgar Evers College, subject to financial ability, effective August 25, 2017

EXPLANATION: The Social Work faculty are currently housed in the Department of Social and Behavioral Sciences. The professional program in which these faculty teach, the BS in Social Work, is decidedly different from the liberal arts offerings of the department and its curriculum is very much driven by licensing and accreditation requirements. The College has already approved two searches commencing in late Summer 2017 for full-time social work faculty. One position is to replace an unexpected early retirement and the other is to support the 50% increase in enrollment in the degree program, bringing the total number of full-time faculty to five. The program director is expected to become the chair of the new department and the faculty already have their own support staff member, so there will be no additional cost to the college to establish this new department.

MEDGAR EVERS COLLEGE – TRANSFER AND APPOINTMENT OF FACULTY FROM THE DEPARTMENT OF SOCIAL AND BEHAVIORAL SCIENCES TO THE DEPARTMENT OF SOCIAL WORK.

Resolved, that effective August 25, 2017 the following members of the DEPARTMENT of Social and Behavioral Sciences be transferred from the Department of Social and Behavioral Sciences and appointed to the Department of Social Work.

NAME PRESENT RANK FORMER DEPT. NEW DEPT. SENIORITY FULL TIME (Last, First) DATE (NEW APPOINTMENT DEPT.) DATE (COLLEGE) *

TENURED MEMBERS

Harris-Hastick, Eda Professor Social and Behavioral Social Work 8/25/2017 9/5/1991 Sciences

Reid, Elaine Assistant Professor Social and Behavioral Social Work 8/25/2017 9/1/2007 Sciences

NAME PRESENT RANK FORMER DEPT. NEW DEPT. SENIORITY FULL TIME (Last, First) DATE (NEW APPOINTMENT DATE DEPT.) (COLLEGE) *

UNTENURED MEMBERS

Hernandez, Edward Assistant Professor Social and Behavioral Social Work 8/25/2017 8/27/2013 Sciences

I.B.3 – BROOKLYN COLLEGE - RESOLUTION TO AWARD AN HONORARY DEGREE

RESOLVED, that Brooklyn College award Bernard Sanders the degree of Doctor of Humane Letters, honoris causa, at the College’s annual commencement ceremony on May 30, 2017.

EXPLANATION: During his outstanding career of public service, Bernard (Bernie) Sanders (VT-I) has maintained an enduring commitment to progressive causes and justice for all. He has been an unwavering advocate of working- and middle class Americans, spearheading legislation for veterans, and advancing the causes of civil, immigrant, women’s, disability, and LGBTQ rights, as well as affordable higher education, environmental protection, and renewable energy.

BERNARD SANDERS

U.S. Senator Bernard (Bernie) Sanders (VT-I) is known worldwide for his campaign for the Democratic party’s 2016 U.S. presidential nomination. The longest serving independent in U.S. congressional history, Sanders served as a congressman for 16 years, until he was elected to the U.S. Senate in 2006. In 2012, he was re-elected with 71 percent of the vote.

Born and raised in Brooklyn, New York, Sanders graduated from James Madison High School in 1959 and briefly attended Brooklyn College, transferring in 1960 to the University of Chicago, where he received a degree in political science in 1964.

Sanders’ lifelong career as an activist for civil rights and progressive causes began early as a student organizer for the Congress of Racial Equality (CORE) and the Student Nonviolent Coordinating Committee (SNCC). A plainspoken defender of what he calls “real family values,” Sanders made women’s, immigrant, and LGBTQ rights, and causes such as a living wage, equal pay for equal work, and parental leave as the cornerstone of his presidential campaign.

Today Sanders continues to be a tireless champion of the interests of working- and middle- class Americans. As chairman of the Committee on Veteran’s Affairs (VA), he has helped passed legislation to reform the VA healthcare system. He has fought to protect Medicare and Social Security, which he says “has been the most successful anti-poverty program in American history. He has also introduced bipartisan legislation to extend and modernize the Older Americans Act, a landmark law that provides a wide-range of services such as nutrition programs, transportation, legal services, and caregivers support. Sanders has been unwavering in his efforts to make higher education accessible to all, introducing legislation to increase Pell grants for students from low-income families, and calling for tuition- and debt-free college. A member of the Environmental and Public Works and Energy and Natural Resources Committee, Sanders has made combating climate change and transforming America’s energy program from fossil fuels to renewable sources a priority.

In recognition of his outstanding contribution as a public servant, defender of civil, immigrant, women’s, and LGTBQ rights, and an advocate for the working and middle- classes, Brooklyn College seeks to honor Bernie Sanders with the honorary degree of Doctor of Humane Letters, honoris causa.

I.B.4 – HUNTER COLLEGE - RESOLUTION TO AWARD AN HONORARY DEGREE

RESOLVED, that Hunter College awards Arthur Elgort, class of 1964, the degree of Doctor of Fine Arts, honoris causa, at the college’s spring commencement ceremony on May 30, 2017.

EXPLANATION, Arthur Elgort’s innovative fashion photography has appeared in Vogue, Glamour, and other top fashion magazines, and he has shot ad campaigns for the likes of Chanel, Valentino, and Yves Saint Laurent. His work has been exhibited in permanent collections at London’s Victoria and Albert Museum and the Museum of Fine Arts in Houston. In 2011, Elgort won the Council of Fashion Designers of America (CFDA) Board of Directors Award. In a career spanning over four decades, Elgort transformed the world of fashion photography by employing a visionary “snapshot style” that inspired a generation of photographers, changing the industry and its portrayal of women. Elgort graduated from Hunter College, where he received a BFA in 1964.

ARTHUR ELGORT

When Arthur Elgort graduated from Hunter in 1964, fashion photography was, with few exceptions, an airless world of strictly curated studio shoots and immobile, mannequin-like models. Elgort, who got his first big assignment from British Vogue in 1971, turned that world upside down. He liberated the models from the studio, mussed up their hair, toned down their makeup, and let them fill the frame with movement, emotion, and exuberant, quirky life. His so-called “snapshot style” inspired a generation of photographers, changing the industry and its portrayal of women. Over the years, Elgort’s work has appeared in Vogue, Glamour, and other top fashion magazines, and he has shot ad campaigns for the likes of Chanel, Valentino, and Yves Saint Laurent. His work has been exhibited in permanent collections at London’s Victoria and Albert Museum and the Museum of Fine Arts in Houston. In 2011, Elgort won the Council of Fashion Designers of America (CFDA) Board of Directors Award. The son of a restaurant owner, Elgort grew up in Brooklyn and attended Stuyvesant High School before going to Hunter, where he studied painting, an art he eventually decided was too isolating. He switched to photography—and made it his own.

I.B.5 – CUNY SCHOOL OF LAW – RESOLUTION TO AWARD AN HONORARY DEGREE

RESOLVED, that the CUNY School of Law award Sherrilyn Ifill, Esq. the degree of Doctor of Laws, honoris causa, at the CUNY School of Law commencement ceremony on May 12, 2017.

EXPLANATION: Sherrilyn Ifill is the seventh President and Director-Counsel of the NAACP Legal Defense and Educational Fund AND has increased the visibility and engagement of the organization in cutting edge and urgent civil rights issues including policing reform, the Detroit water crisis and transportation inequity.

Sherrilyn Ifill

Sherrilyn Ifill is the seventh President and Director-Counsel of the NAACP Legal Defense and Educational Fund, Inc. (LDF), the nation's premier civil rights legal organization. After graduating law school, Ms. Ifill served first as a fellow at the American Civil Liberties Union and then for five years as an Assistant Counsel in LDF's New York office, where she litigated voting rights cases in the south. During her tenure at LDF, Ms. Ifill litigated numerous cases including the landmark Voting Rights Act case Houston Lawyers' Association vs. Attorney General of Texas, in which the Supreme Court held that judicial elections are covered by the provisions of section 2 of the Voting Rights Act. In 1993, Ms. Ifill left LDF to join the faculty of the University of the Maryland School of Law, where, in addition to teaching Civil Procedure, Constitutional Law and variety of seminars, she continued to litigate and consult on a broad and diverse range of civil rights cases. While at Maryland, Ms. Ifill developed an environmental justice clinical offering and co-founded one of the first legal clinics in the nation focused on removing legal barriers to formerly incarcerated persons seeking to responsibly re-enter society.

Ms. Ifill returned to LDF in 2013, and since has increased the visibility and engagement of the organization in cutting edge and urgent civil rights issues including policing reform, the Detroit water crisis and transportation inequity. At critical moments during national unrest in 2014, Ms. Ifill's voice and vision framed the issue of policing reform and urban deprivation with powerful clarity.

Ms. Ifill is the youngest of 10 children, was raised in New York City and educated in the public schools. She received her undergraduate degree from Vassar College and graduated from New York University School of Law. A critically acclaimed author, Ms. Ifill's scholarly articles and her 2007 book "On the Courthouse Lawn: Confronting the Legacy of Lynching in the 21st Century," reflect her lifelong engagement in and analysis of issues of race and American public life. Ms. Ifill is a past Chair of the Board of U.S. Programs at the Open Society Institute, one of the largest philanthropic supporters of civil rights and social justice organizations in the country. She currently serves on the global board of the Open Society Foundations, and on the board of Equal Justice Works, the National Constitution Center and the Learning Policy Institute. I-B-6 – COLLEGE OF STATEN ISLAND – RESOLUTION TO AWARD HONORARY DEGREES

RESOLVED, that The College of Staten Island award Peter and Robin Jovanovich the degree of Doctor of Humane Letters, Margaret Ricciardi the degree of Doctor of Fine Arts, Dr. Andy Shih the degree of Doctor of Science and Deidre De Angelis the degree of Doctor of Humane Letters, honoris causa, at the College’s commencement ceremony on May 30, 2017.

EXPLANATION: Peter and Robin Jovanovich have been uniquely supportive and generous friends of the College of Staten Island. Their efforts over the last five years have resulted in over $250,000 in Ellen Knowles Harcourt Scholarships awarded to Teacher Education Honors Academy students and an ongoing annual commitment of $135,000. This scholarship money guarantees that the recipients will graduate with no debt, which is critically important for students who are committed to a career in teaching. Margaret Ricciardi has longstanding ties to Staten Island and the College of Staten Island community as a resident, entrepreneur, student, artist, and benefactor. Margaret studies sculpture at CSI with many faculty members in the Department of Performing and Creative Arts who consider her as a serious artist. Her venerable age of 103 notwithstanding, she continues to make art that challenges the viewer. Margaret had a solo exhibit in the CSI Student Art Gallery and subsequently she has shown her work at the Museo dell’Emigrante in Naples and the Snug Harbor Cultural Arts Center in Staten Island. Dr. Andy Shih is the Senior Vice President for Public Health and Inclusion at Autism Speaks, an autism advocacy organization in the United States that sponsors autism research and conducts awareness and outreach activities aimed at families, governments, and the public. Autism Speaks has been an important source of funding directed towards the causes and treatment of autism spectrum disorders. Principal DeAngelis has led New Drop High School since 1999. She has been honored locally and by the State for her accomplishments and is the longest serving high school principal on Staten Island. The New York Daily News chose her as one of 11 top educators in 2012 and honored her as a “Hometown Hero” in part for her leadership during and following the crisis of Super Storm Sandy. DeAngelis has partnered with CSI and other area schools to launch the 30,000 Degrees Initiative to increase the college-completing population on Staten Island. New Dorp High School is also engaged with CSI School of Health Sciences for a current healthy neighborhood initiative, one aspect of which will focus on the New Dorp community.

Peter and Robin Jovanovich Peter and Robin Jovanovich have been uniquely supportive and generous friends of the College of Staten Island. Their efforts over the last five years have resulted in over $250,000 in Ellen Knowles Harcourt Scholarships awarded to Teacher Education Honors Academy students and an ongoing annual commitment of $135,000. This scholarship money guarantees that the recipients will graduate with no debt, which is critically important for students who are committed to a career in teaching. What distinguishes these scholarships is the special role that Peter and Robin Jovanovich themselves play. Peter (the President Emeritus of the Alfred Harcourt Foundation) and Robin (the current President of the Alfred Harcourt Foundation) both take a personal interest in each Harcourt Scholar. Every semester they visit the College of Staten Island and meet individually with the Harcourt Scholars. They review each student’s record and discuss their achievements and problems; as one Harcourt Scholar said, “They care about me.” They have observed many classes taught by Teacher Academy graduates at Staten Island high schools and they have frequently met with CSI administrators to reinforce their commitment to the College. As the former President of Harcourt Brace Jovanovich when it was one of the leading publishing companies in the world, Peter Jovanovich has a well-documented commitment to education. It is the clearly stated goal of the Harcourt Foundation to award scholarships to students who will “make constructive contributions to society”. In the case of the CSI Harcourt Scholars, the Harcourt Foundation expects them to be effective teachers of future generations—certainly an important contribution to society. Peter and Robin Jovanovich have been the determining force in making the generous Harcourt Scholarships a reality for CSI students but perhaps as important they have had a personal impact on the lives of these students.

Margaret Ricciardi Margaret Ricciardi received her Bachelor’s Degree in Art from the College of Staten Island in 1986. She has longstanding ties to Staten Island and the College of Staten Island community as a resident, entrepreneur, student, artist, and benefactor. She has continued her studies in sculpture and painting at CSI over three decades. Margaret had a solo exhibit in the CSI Student Art Gallery soon after receiving her degree, and has subsequently shown her work at the Museo dell’ Emigrante in Naples and the Snug Harbor Cultural Arts Center in Staten Island. In 2006 she received the Award for Cultural and Artistic Accomplishments at the third annual Festi dei Campani nel Mondo, by La Federazione dell’ Associazioni della Campania, USA. In spring 2014 The National Art Club in Manhattan offered Margaret a retrospective of her paintings and sculpture. The exhibit was organized and curated by Professor Marianne Weil. Margaret and her husband Frank Ricciardi established Ricciardi Shore Service, which became a Staten Island Ferry Terminal business landmark. She endowed the Margaret and Frank Ricciardi Scholarship award for Italian language majors, enabling them to study abroad as well as the Margaret Ricciardi Art Award, given annually to a graduating studio art major. Margaret Ricciardi continues to commute to the College twice a week via Access-A-Ride at the age of 103 and captures the interest of students eager to be in the presence of a phenomenal artist.

Andy Shih Dr. Andy Shih is the Senior Vice President for Public Health and Inclusion at Autism Speaks, an international NGO dedicated to enhancing autism awareness, research and access to services. He leads the development, implementation and management of the organization’s research portfolios in public health and international development (e.g., Global Autism Public Health Initiative). As a researcher, Dr. Shih had published studies on the development of ribozyme-based diagnostics and therapeutics, AIDS/Kaposi’s Sarcoma (HIV/HHV-8) -related molecular virology, and the identification of novel GTPases involved in cell cycle regulation and genetic risk factors for autism. As a professor, he has led graduate seminars and designed curriculum for university upper-division cell biology and pharmacology courses. Dr. Shih currently oversees the development and management of international scientific and public policy activities in collaboration with key stakeholders from governments outside of the US, including: Heads of State, Ministers and other officials and policy-makers, leadership of UN agencies, multilateral and bilateral health and development organizations (e.g., WHO, UNDP, UNICEF, World Bank, regional banks), as well as support the leadership and priorities of relevant national and international professional societies and organizations (e.g., International League Against Epilepsy). Dr. Shih serves as a technical advisor to the government of partner countries involved in Autism Speaks’ Global Autism Public Health Initiative by developing and implementing national public health programs and strategy plan for autism and related disorders. He has provided leadership for several existing high-impact research consortia (e.g., Baby Siblings Research Network, GAPH Research Network) and large high-profile collaborations (e.g., Situational analysis for Bangladesh, situational analysis for South Africa, Chinese Ministry of Health Autism Prevalence and Capacity-building Project, Bangladesh 40K pregnancy cohort, NYC Korean Community Project and WHO-AS Parent Skills Training program) that have yielded hundreds of peer- reviewed publications over the past decade. Dr. Shih currently serves on the Investing in Young Children Globally (iYCG) and Promoting Children’s Cognitive, Affective and Behavioral Health (C-CAB) Forums at the US National Academy of Medicine and is also a member of the US National Advisory Environmental Health Sciences Council (NAEHS).

Deirdre DeAngelis Deirdre DeAngelis has been Principal of New Dorp High School since 1999, and is the longest-serving principal on Staten Island. She has provided outstanding leadership for her school, earning a number of accolades for her educational accomplishments and ongoing community engagement for the betterment of the school’s students and the surrounding community. The New York Daily News honored Principal DeAngelis in 2012 as one of the city’s eleven top educators and designated her a “Hometown Hero” for her leadership during and following the crisis of Super Storm Sandy. In 2013 she was honored as one of two New York State Senate Women of Distinction, again for her leadership and her creative approach to the restructuring of her school. The Staten Island Advance has reported among her accomplishments increased enrollments and a 90 percent student attendance rate under her leadership. Particularly noteworthy is her creation of a structure of eight small learning communities within New Dorp High School, with each community addressing specific curricular or career interests for students. These learning communities have created a more personal, small-school feel within a very large school. Principal DeAngelis has partnered with CSI and other area schools to launch the 30,000 Degrees Initiative to increase college- completing population on Staten Island. New Dorp High School is also engaged with CSI School of Health Sciences for a current healthy neighborhood initiative; one aspect of which, will focus on the New Dorp community.

I.B.7 – CUNY GRADUATE SCHOOL OF PUBLIC HEALTH & HEALTH POLICY – RESOLUTION TO AWARD AN HONORARY DEGREE

RESOLVED, that the CUNY Graduate School of Public Health & Health Policy award First Lady Chirlane McCray the degree of Doctor of Science (Sc.D.), honoris causa, at the school’s annual commencement ceremony on June 1, 2017.

EXPLANATION: First Lady Chirlane McCray spearheads Thrive NYC, a braod public health initiative aimed at providing mental health and addiction services to all New Yorkers. Ms. McCray has been a friend to the School, and a supporter of our Thrive NYC-based collaboration with the City’s Department of Health and Mental Hygiene, CUNY Center for Innovation in Mental Health. She is a exemplar of our School’s mission and vision, who has made a powerful difference in the lives of all New Yorkers.

CHIRLANE McCRAY

First Lady of New York City Chirlane McCray is the inspiration and driving force behind Thrive NYC: A Mental Health Roadmap for All, a broad mental health program aimed at lifting up all New Yorkers who suffer from trauma, mental illness, and addiction. Thrive NYC was conceived in the belief that all citizens can live with dignity. She designed this initiative based on her personal experience as the parent of a child who suffered from addiction and mental illness, and her programs have a special focus on early childhood development, to ensure that the youngest New Yorkers receive the very best opportunity to grow up as productive citizens who are strong, healthy, and happy. NYC Well, a cornerstone of Thrive NYC, is a comprehensive plan to address mental illness and substance abuse. It is a confidential phone, text, and chat service available 24 hours a day, 365 days a year, and accessible in more than 200 languages that provides counseling, peer support, and referrals to treatment, in the belief that early treatment is the most effective intervention. The First Lady embarked on Thrive NYC in collaboration with Deputy Commissioner for Mental Hygiene Dr. Gary Belkin and Commissioner Dr. Mary T. Basset, and this has laid the groundwork for the CUNY Graduate School of Public Health & Health Policy’s newest collaboration with the NYC Department of Health and Mental Hygiene, the CUNY Center for Innovation in Mental Health (CIMH). Dr. Belkin, who is being appointed as a Distinguished Lecturer in our School, and Dr. Jennifer Wisdom, Director of the CIMH and Professor at the School, will together be hooding the First Lady. Commissioner Mary Bassett will be receiving our inaugural Champion of Public Health award at the ceremony as well.

I.B.8 – CUNY GRADUATE SCHOOL AND UNIVERSITY CENTER – RESOLUTION TO AWARD HONORARY DEGREES RESOLVED, that the Graduate Center award Vanita Gupta, Wael Shawky, and Lord Nicholas Stern the degree of Doctor of Humane Letters, honoris causa, at the college’s annual Commencement ceremony on June 2, 2017

EXPLANATION: Vanita Gupta, a prominent attorney, was the former Principal Deputy Assistant Attorney General and head of the Civil Rights Division of the Department of Justice until January 20, 2017. Appointed to lead the Civil Rights Division by President Barack Obama in October 2014, she emerged as one of his administration’s most prominent advocates for social justice. Gupta began her legal career at the NAACP Legal Defense Fund. From 2006 – 2010, she served as staff attorney with the ACLU’s Racial Justice Program, winning a landmark settlement on behalf of immigrant children. She then became Deputy Legal Director of the American Civil Liberties Union and Director of the ACLU’s Center for Justice, which houses the organization’s criminal justice reform, prisoners’ rights, and capital punishment work. Throughout her career, she has won the support of liberal and conservative activists, as well as law enforcement leaders, for finding common ground on policing and criminal justice reform. She received her B.A. magna cum laude from Yale University and her J.D. from New York University School of Law.

Wael Shawky is one of the most celebrated artists from the Middle East, achieving international acclaim for his films and performances that examine the role of historical narrative in the development of culture. Shawky is best known for his epic trilogy of films, The Cabaret Crusades. Shown at MOMA PS1. The three hour long video trilogy uses music, language and marionettes in an exploration of historical events and Arab identity. He was the recipient of the Ernst Schering Foundation Art Award in 2011, which included a solo exhibition at KW Institute for Contemporary Art in Berlin. His work has been featured at Lisson Milan, the Fondazione Merz, and the Serpentine Galleries in London, and can be found in the Museum of Modern Art in New York, the National Gallery of Canada, and the Tate Collection in London. He earned his BFA in Fine Arts from Alexandria University and an MFA from the University of Pennsylvania’s School of Fine Arts.

Lord Nicholas Stern is currently Chair of the Grantham Research Institute on Climate Change and the Environment at the London School of Economics and Political Science, where he is also the IG Patel Professor of Economics and Government and the Head of the India Observatory. In addition, since 2013 he has served as President of the British Academy; in 2014, he was elected a fellow of the Royal Society. World-renowned for his research on the economics of global warming, Stern has also served in government, notably as the Chief Economist and Senior Vice President of the World Bank from 2000 – 2003, and later as the Second Permanent Secretary to Her Majesty’s Treasury, the Director of Policy and Research for the Prime Minister’s Commission for Africa, and the Head of the Government Economic Service. In 2004, he was knighted for his work in Economics. The recipient of numerous awards, Stern is the author of more than 15 books and 100 articles.

Vanita Gupta

Vanita Gupta was the former Principal Deputy Assistant Attorney General and head of the Civil Rights Division of the Department of Justice until January 20, 2017. She was appointed to lead the division by President Barack Obama in October 2014. During her time as the head of the Civil Rights Division, Gupta emerged as one of the Obama administration’s most prominent advocates for social justice.

Born in Philadelphia to immigrant parents, Gupta began her legal career at the NAACP Legal Defense and Educational Fund, where she helped successfully overturn the wrongful drug convictions of 38 individuals in Tulia, Texas. From 2006 to 2010, she served as a staff attorney with the ACLU’s Racial Justice Program, winning a landmark settlement on behalf of immigrant children; the ruling later prompted the Department of Homeland Security to begin reforming the nation’s immigration detention system. She then became Deputy Legal Director of the American Civil Liberties Union and Director of the ACLU’s Center for Justice, which houses the organization’s criminal justice reform, prisoners’ rights, and capital punishment work.

After joining the Justice Department in 2014, Gupta worked on criminal justice reform and constitutional policing. She went to Ferguson and Baltimore as well as other cities where relations between communities and police departments were fractured, to work on countering police abuse and to reform practice. Her work also included prosecuting hate crimes and human trafficking, promoting disability rights, protecting the rights of LGBT individuals, and combating discrimination in education, employment, housing, lending, and voting.

Throughout her career, she has won the support of liberal and conservative activists, as well as law enforcement leaders, for finding common ground on policing and criminal justice reform. She has won numerous awards for her advocacy. In 2011, the National Law Journal recognized her as a Top 40 Minority Lawyer Under 40. She received her B.A magna cum laude from Yale University and her law degree from New York University School of Law. Lord Nicholas Stern

Lord Nicholas Stern

In 2006, Lord Nicholas Stern published a 700-page report on the environmental impacts and economic costs of global warming. The report, known as the “Stern Review on the Economics of Climate Change,” made a powerful case that the benefits of fighting global warming far outweigh the costs. It remains one of the most influential and widely known papers ever published on the topic.

Stern, who is currently Chair of the Grantham Research Institute on Climate Change and the Environment, is world-renowned for his research on the economics of global warming. He has led the Grantham Research Institute since its founding in 2008 at the London School of Economics and Political Science, where he is also the IG Patel Professor of Economics and Government and the Head of the India Observatory. In addition, he is President of the British Academy, a position he has held since 2013; in 2014, he was elected a Fellow of the Royal Society.

Stern has also served in government, notably as the Chief Economist and Senior Vice President of the World Bank from 2000 to 2003, and later as the Second Permanent Secretary to Her Majesty’s Treasury, the Director of Policy and Research for the Prime Minister’s Commission for Africa, and the Head of the Government Economic Service. In 2004, he was knighted for his work in economics; three years later, he was named a cross-bench life peer as Baron Stern of Brentford.

The recipient of numerous international awards, Stern is the author of more than 15 books and 100 articles. His most recent book, Why Are We Waiting? The Logic, Urgency, and Promise of Tackling Climate Change (MIT Press, 2015), lays out a clear path forward for combating global warming—one in which taking action will not only benefit the environment, but also lead to economic and technological development, sustainable growth, and a reduction in global poverty.

Wael Shawky

Born in Alexandria, Egypt, where he currently lives and works, Wael Shawky is one of the most celebrated artists from the Middle East, achieving international acclaim for his films and performances that examine the role of historical narrative in the development of culture.

Shawky is perhaps best known for his epic trilogy of films, The Cabaret Crusades. Shown at MoMA PS1 as part of Shawky’s first major solo exhibition in the US, the three hour long video trilogy uses music, language, and marionettes, both antique and constructed, in an exploration of historical events and Arab identity.

Shawky was the recipient of the Ernst Schering Foundation Art Award in 2011, which included a solo exhibition at KW Institute for Contemporary Art in Berlin. This also featured the work Al Araba Al Madfuna (2012), which used a sand floor and stone seats to extend the visual scene portrayed in the video into concrete space.

Shawky founded MASS Alexandria in 2010 to provide artists in Egypt a space for independent study and learning. With a focus on conceptual aspects of artistic production, the center expands upon existing art education schemes.

Shawky’s work has been featured at Lisson Milan, the Fondazione Merz, and the Serpentine Galleries in London. He received the Sharjah Biennial prize for his live performance piece at the 12th Istanbul Biennial in Cairo. His work can be found in the Museum of Modern Art in New York, the National Gallery of Canada, and the Tate Collection in London.

He earned his BFA in Fine Arts from Alexandria University and an MFA from the University of Pennsylvania’s Graduate School of Fine Arts.

I.B.9 – JOHN JAY COLLEGE – RESOLUTION TO AWARD HONORARY DEGREES

RESOLVED, that John Jay College of Criminal Justice award Jose Antonio Vargas the degree of Doctor of Humane Letters, honoris causa, and Mary Bonauto the degree of Doctor of Law, honoris causa, at the college’s annual commencement ceremony on May 31, 2017.

EXPLANATION: Jose Antonio Vargas has courageously, and at great personal risk, stepped forward to give voice to the millions of Americans that live on the margins of society as undocumented persons. In so doing, and through his work, he has been a shining example of strength, pride, and hope for a community in desperate need of all three.

Mary Bonauto has been a principle architect, often at the helm, of nearly every major legal victory leading to full marriage equality for same-sex couples in the United States. In this way, she has spent her life as a “fierce advocate for justice” in one of the greatest civil rights struggle of the current age.

Jose Antonio Vargas

Jose Antonio Vargas is a Pulitzer Prize winning journalist, a filmmaker, and an activist who is best known for his work in advocating for immigration reform. In 2011, he wrote an essay for the New York Times magazine where he disclosed his undocumented immigration status. This essay jumpstarted a national conversation and increased media awareness on the experiences of the more than 11 million undocumented Americans living in the United States.

After graduating from San Francisco State University, Vargas began working for the Philadelphia Daily News, then moved to the San Francisco Chronicle, and eventually to the Washington Post. He was part of the news team who covered the Virginia Tech shootings in 2007, the assignment that earned him the Pulitzer Prize. He eventually became a Senior Contributing Editor for the Huffington Post. After writing his NYT essay in 2011, Jose founded the organization Define American, a nonprofit group that advocates for immigration reform, promotes the rights of undocumented people, and increases awareness of how systemic racism dictates immigration policies and public opinions.

Since 2011, Jose has continued to educate the general public on immigration issues through speaking tours, media appearances, and public essays. He was featured on news programs like MSNBC’s The Rachel Maddow Show, CNN’s Anderson Cooper 360, and Fox News’s The O’Reilly Factor. In June 2012, he appeared on the cover of TIME magazine with other undocumented immigrants; it was the first time an openly undocumented American had been on the cover of TIME.

A year later, Vargas transformed his life story into the movie Documented, which was released in theaters in 2013 and was broadcast on CNN on Independence Day 2014. The film was praised widely, including being nominated for an NAACP Image Award for Outstanding Documentary, as well as awards at the Hawaii International Film Festival and the San Diego Asian Film Festival. Vargas’s second documentary film, White People, has expanded his focus to race relations generally and challenges ordinary white Americans to reflect on how the scourge of institutional racism harms society as a whole.

Through it all, Jose Antonio Vargas has remained a “fierce advocate for justice,” particularly for undocumented immigrants, a community that is currently being specifically targeted for enforcement and deportation. Many in the John Jay and CUNY community have immediate family members that are undocumented or are undocumented themselves. Awarding an honorary doctorate will send a clear and public message to these members of our community that they are valued and welcome at CUNY.

Mary Bonauto

Over the last fifteen years, gay and lesbian Americans have fought and won many important legal victories toward full marriage and family equality. Every step of the way, Mary Bonauto has led the charge. Through her tireless advocacy and unmatched skills in the courtroom, Bonauto has been the principle legal architect of marriage equality in the United States, and a hero to its millions of beneficiaries.

Bonauto entered adulthood in a nation that, like nearly all others at that time, criminalized, harassed, and imprisoned homosexual persons and others whose gender expression and/or sexual orientation did not conform to culturally dominant norms. The newest generation of LGBT Americans, on the other hand, are entering adulthood in a state of historically unprecedented legal acceptance and equality. Though work remains to be done, and this newfound freedom is still young and fragile, there is no individual to whom more credit is due for this newfound freedom than Mary Bonauto.

Bonauto’s advocacy for Gays and Lesbians began in 1990 when she became the chief litigator for the then-fledgling organization Gay & Lesbian Advocates & Defenders, or GLAD. By 1999, she led the legal team that won the first major battle for gay marriage rights in Baker v. Vermont, which became the touchstone of the marriage equality movement in the US. GLAD and Bonauto were again at the helm of the legal team whose victory led to the first full-fledged same-sex marriages in the United States in Goodridge v. Massachusettes Department of Public Health in 2003. She led GLAD to a similar legal victory in Connecticut and, after more state challenges began to find success, she turned her eyes toward the federal recognition of same-sex marriage.

Legal challenges won by GLAD, under Bonauto’s leadership, were eventually merged with other cases that led to the United States v. Windsor decision striking down the most harmful components of the Defense of Marriage Act (or DOMA), a case for which she coordinated many of the amici briefs on behalf of marriage equality advocates.

Bonauto’s legal leadership of the marriage equality movement was made most apparent by her being chosen as lead counsel for the oral arguments in Obergefell v. Hodges. Bonauto won that case on behalf of the millions of Americans she fought for, and full marriage equality became the law of the land in the United States in 2015.

Every civil rights movement has its heroes and Mary Bonauto is the most deserving of that title for the LGBT civil rights movement. Her life’s work has ensured for her a proud place in the history of this nation.

I.B.10 - CITY UNIVERSITY OF NEW YORK – APPROVAL OF START-UP NY PARTICIPATING BUSINESSES THROUGH MEDGAR EVERS & YORK COLLEGES

RESOLVED, That the Board of Trustees of The City University of New York approves the selection of BlocPower L.L.C. (“BlocPower”) to participate in the Start-Up NY program or any successor program (collectively, the “Program”) through Medgar Evers College. The President of Medgar Evers College and the General Counsel are each authorized to execute and submit all documents that are necessary or useful to effectuate BlocPower’s participation in the Program. BlocPower’s participation in the Program shall be subject to all University and New York State requirements. All Program documents to be executed for the University shall be subject to approval as to form by the University Office of the General Counsel.

RESOLVED, That the Board of Trustees of The City University of New York approves the selection of Derbywire, Inc. (“Derbywire”) to participate in the Start-Up NY program or any successor program (collectively, the “Program”) through Medgar Evers College. The President of Medgar Evers College and the General Counsel are each authorized to execute and submit all documents that are necessary or useful to effectuate Derbywire’s participation in the Program. Derbywire’s participation in the Program shall be subject to all University and New York State requirements. All Program documents to be executed for the University shall be subject to approval as to form by the University Office of the General Counsel.

RESOLVED, That the Board of Trustees of The City University of New York approves the selection of Selfiepay, Inc. (“Selfiepay”) to participate in the Start-Up NY program or any successor program (collectively, the “Program”) through Medgar Evers College. The President of Medgar Evers College and the General Counsel are each authorized to execute and submit all documents that are necessary or useful to effectuate Selfiepay’s participation in the Program. Selfiepay’s participation in the Program shall be subject to all University and New York State requirements. All Program documents to be executed for the University shall be subject to approval as to form by the University Office of the General Counsel.

RESOLVED, That the Board of Trustees of The City University of New York approves the selection of Tuki, Inc. (“Tuki”) to participate in the Start-Up NY program or any successor program (collectively, the “Program”) through Medgar Evers College. The President of Medgar Evers College and the General Counsel are each authorized to execute and submit all documents that are necessary or useful to effectuate Tuki’s participation in the Program. Tuki’s participation in the Program shall be subject to all University and New York State requirements. All Program documents to be executed for the University shall be subject to approval as to form by the University Office of the General Counsel.

RESOLVED, That the Board of Trustees of The City University of New York approves the selection of Pro Drones USA, LLC (“Pro Drones”) to participate in the Start-Up NY program or any successor program (collectively, the “Program”) through York College. The President of York College and the General Counsel are each authorized to execute and submit all documents that are necessary or useful to effectuate Pro Drones’ participation in the Program. Pro Drones’ participation in the Program shall be subject to all University and New York State requirements. All Program documents to be executed for the University shall be subject to approval as to form by the University Office of the General Counsel.

EXPLANATION: The Program authorizes the creation of tax-free zones on eligible university campuses in New York State for new and expanding businesses. Under New York State law five CUNY campuses, including Medgar Evers and York Colleges, have been designated by the Board to participate in the Program. CUNY campuses other than the five designated by the Board may apply to host tax-free zones in competition with other universities.

Tax-free zones may be located within eligible College campuses, affiliated business incubators, and certain off-campus space affiliated with participating Colleges. Businesses locating within these tax-free zones will be generally exempt from State taxes, and the income paid to new employees of such businesses will be fully or partially exempt from State income taxes, for a period of ten years. In order to participate in the Program, businesses must be either a start-up or a high-tech business, must create new jobs, must not compete with any existing business within the immediate community but outside the tax-free zone, must be aligned with or further the academic mission of the host campus, and must provide positive community and economic benefits. Businesses applying to participate in the Program are subject to approval by CUNY and the NYS Commissioner of Economic Development.

The five campuses designated by the Board are permitted to include an unlimited amount of campus and affiliated space in the Program. CUNY has worked with New York State Empire State Development, which administers the Program, to solicit potential businesses on an ongoing basis, and the colleges identified these companies as offering particularly strong fits for their academic programs. Pursuant to University policy, these companies were evaluated and recommended for selection into the Program by committees of colleges and Central Office staff, and by the respective College President and the Executive Vice Chancellor and University Provost (or their designees).

Partnerships with Private Industry aviation advertising scientific research finance clean energy technologies Work Force Development entertainment industry Multi-Campus Collaborations STEM security

Overview of Businesses for Board Approval May 2017 Derbywire @Medgar Evers

Derbywire, Inc. is a digital content streaming application where users can monetize their intellectual property real-time into their bank account. Web and Mobile technology is used to facilitate communication within a social community. The customers are social network users and digital content owners of their intellectual property.

• Joint Sponsorship Committee Meeting: August 11, 2016 • Business Location: Brooklyn Navy Yard • Academic benefits: • Student Mentor • Student Internship & Fellowship Sponsor • Curriculum Development Advisor • Course Instructor • Local Employer – will publish job opportunities with MEC Career Services Office • Five-year job projection: 95

2 Selfiepay @Medgar Evers

Selfiepay, Inc. is a security and fraud prevention business that uses biometric data for the payment verification. It provides users the ability to apply the application online, through a mobile wallet and in-store kiosk. Customers are daily people that make payments, merchants, fortune 500 companies and others looking for a means to use secure authentication.

3 Tuki @Medgar Evers

Tuki, Inc. supports mobile electronic products used in multi-purpose areas such as schools, hotels, merchant stores, airports, banks and other environments that use mobile products for daily transactional purposes.

4 BlocPower @Medgar Evers

BlocPower L.L.C. is a Silicon Valley and US DOE backed technology startup, focused on developing engineering and financial analytics software to unlock the untapped $50 billion small commercial, financially underserved American inner city green buildings market.

• Joint Sponsorship Committee Meeting: February 21, 2017 • Business Location: Brooklyn Navy Yard • Academic benefits: • Student Mentor • Student Internship & Fellowship Sponsor • Curriculum Development Advisor • Faculty Research Collaborator • Local Employer – will publish job opportunities with MEC Career Services Office • Five-year job projection: 7

5 Pro Drones @York College

Pro Drones USA, LLC (a US affiliate of MicroDrones) researches remote sensing, aviation and data interpretation to solve real-world challenges. They develop, market and sell integrated drones with payloads that answer these challenges worldwide, with a focus on target customers in the fields of surveying, engineering and agriculture.

• Joint Sponsorship Committee Meeting: February 21, 2017 • Business Location: Richmond Hill • Academic Benefits: • Student Internship Sponsor • Faculty Research Collaborator • Curriculum Development Advisor • Philanthropic Supporter: $15,000 Scholarship per year • Local Employer: will publish job opportunities with York College Career Services Office • Five-year job projection: 5