15.0
EDITION 2015–16 GENERAL CATALOG CJC academic calendar Spring Recess Academic andAdministrativeHoliday Last DaytoAdd/Drop aClass First DayofSpringInstruction Academic andAdministrativeHoliday Auditions forSpring2015 Spring Semester2015 JazzConservatoryAcademicCalendar2015–2016 California * Auditions forFall2016 Fall 2016Registration Fall 2016Enrollment DepositDue Commencement Final ExaminationsandJuries Last DayofInstruction Spring Recess Academic andAdministrativeHoliday Last DaytoAdd/Drop aClass First DayofSpringInstruction Academic andAdministrativeHoliday Auditions forSpring2016 Spring Semester2016 Spring 2016Registration Winter Recess Commencement Final ExaminationsandJuries Last DayofInstruction Spring 2016Enrollment Deposit Due Academic andAdministrativeHoliday Academic andAdministrativeHoliday Last DaytoAdd/Drop a Class First DayofFallInstruction New StudentOrientation Auditions forFall2015 Fall Semester2015 Fall 2015Registration Fall 2015Enrollment DepositDue Commencement Final ExaminationsandJuries Last DayofInstruction Auditions forFall2015 covers thetimeperiodofJuly15, 2015 –July14,2016. Please note: Edition 15 of the CJC 2015 – 2016 General Catalog Pleasenote:Edition 15oftheCJC2015–2016 GeneralCatalog
March 23–March 29 March 21–March 27 On orbefore June1 On orbefore June1 Nov 23–29 By Appointment By Appointment By Appointment By Appointment By Appointment Dec 20–Jan18 August 3–7 August 1–5 May 11–15 Dec 14–18 May 9–13 Jan 4–8 May 16 May 14 Aug 24 Aug 20 Dec 19 Dec 11 Feb 16 Feb 15 Jan 20 Jan 19 Jan 31 Jan 19 Jan 18 Sept 7 Sept 6 May 8 May 8 Dec 1 Feb 3
* A WARM WELCOME TO THE CALIFORNIA JAZZ CONSERVATORY!
On February 3, 2014, in the first of a series of Norton Lectures on the Ethics of Jazz at the Mahindra Humanities Center at Harvard University, jazz pianist Herbie Hancock implores jazz educators to “Reach up, while reaching down: grow while helping others [grow].” Mr. Hancock couldn’t have described our faculty any better. At the California Jazz Conservatory, our students have the incomparable opportunity to study with faculty who manifest Mr. Hancock’s words of wisdom. Comprising the leaders of today, our faculty is committed to “reaching up, while reaching down” to guide our students in becoming the leaders of tomorrow.
Our artistic and academic community of leading artists and educators strives to provide you, welcome to the CJC our students, with a customized foundation that inspires and enables you to — to quote our mission statement — “develop practical skills, acquire artistic sensibility, realize creative potential and find artistic voice.” There is no better platform than a degree in Jazz Studies to realize these objectives given that the jazz art form inherently serves as the optimal vehicle for achieving individual creative expression.
The CJC Jazz Studies degree is designed to support your own personal mission: to discover who you are, where you’re going and how you plan on getting there. This statement by CJC faculty Dr. Anthony Brown hits the mark: “The search for one’s musical identity, ‘finding one’s own voice’ is a jazz performer’s imperative, manifest in his/her art, and particularly since the advent of bebop, in his/her life off the bandstand.” As important as any quantifiable learning outcomes may be, the overarching purpose of our degree is to facilitate our students in the exciting and all-consuming quest to find their own artistic and academic voice — both on and off the bandstand. Join us!
Susan Muscarella Founding President and Dean of Instruction, CJC Inc.
CALIFORNIA JAZZ CONSERVATORY 2087 Addison Street • Berkeley, California 94704 phone: 510.845.5373 • fax: 510.841.5373 1 2015–16 GENERAL CATALOG web: cjc.edu
TABLE OF CONTENTS
Academic Calendar ...... Inside Front Cover The Bachelor of Music Degree in Jazz Studies About the California Jazz Conservatory Curriculum Requirements ...... 22 Message from the President ...... 1 Residency Requirements ...... 22 History and Program ...... 3 Juries and Senior Project ...... 22 Vision, Mission, Goals and Objectives ...... 4 Performance ...... 22 State Licensure ...... 6 Core Courses: Instrumental Track ...... 22 Accreditation ...... 6 Core Courses: Vocal Track ...... 23 Questions or Complaints ...... 6 Elective Courses ...... 23 Facilities and Student Services ...... 6 General Studies Courses ...... 23 Library ...... 7 Independent Study ...... 23 Record-Keeping ...... 8 Keyboard Proficiency ...... 23 Partnership with Berkeley Workshops and Master Classes ...... 23 Community College...... 8 Curriculum Requirements Template ...... 24
General Information Course Descriptions table of contents Admission Requirements ...... 8 Course Numbering ...... 27 Auditions ...... 9 Musicianship ...... 27 Placement Examinations ...... 9 Theory ...... 30 Tuition and Supplemental Fees ...... 10 Harmony ...... 31 Private Instruction ...... 12 Composition ...... 34 Financial Assistance ...... 12 History ...... 35 Scholarships ...... 13 Private Instruction ...... 39 Work Study ...... 13 Instrumental Performance Ensemble ...... 40 Code of Academic Integrity ...... 13 Vocal Performance ...... 43 Code of Conduct ...... 14 Music Technology ...... 44 Academic Standing ...... 15 Business of Music ...... 44 Academic Probation, Recording Arts ...... 45 Suspension and Dismissal ...... 15 Senior Project ...... 45 Housing ...... 15 Department of General Studies ...... 46 International Students ...... 15 CJC Faculty ...... 53 Policies Student Enrollment Agreement ...... 16 CJC Program and Cancellations, Withdrawals and Refunds ...... 16 Administrative Staff ...... 61 Leaves of Absence ...... 17 cjc.edu
Attendance ...... 17 CJC Board of Directors Grading and Academic Penalties ...... 17 and Advisory Board ...... 61 Adding, Dropping and Withdrawing Application for Admission ...... 6 3 from Courses ...... 18 Challenge Examinations ...... 18 Directions to the CJC ...... Inside Back Cover Credit for Prior Experiential Learning ...... 18 Credit Hour Policies ...... 19 Transfer Credit ...... 20 Notice Regarding Transferability of Credits ...... 21 Faculty Advisors ...... 21 california jazz conservatory 2015 – 2016 2015 jazz conservatory california Student Grievances ...... 21 Injury Prevention ...... 21 2
ABOUT THE CALIFORNIA JAZZ CONSERVATORY
History and Program
Founded in 2009 as the Jazzschool Institute, • a synergistic, comprehensive jazz education the California Jazz Conservatory is a private and performance program for today’s independent music conservatory offering the professional jazz instrumentalist and vocalist aspiring professional musician a progressive education and performance baccalaureate • small classes taught by professional artists degree program in Jazz Studies. and experienced educators in the field of jazz and related styles of music The CJC is located in the historic Kress Building on • opportunities to study with preeminent Addison Street in the heart of the Downtown visiting artists and educators Berkeley Arts District. Part of the vibrant East Bay
performing arts scene, the CJC is situated in close • performance opportunities at Yoshi’s, about the CJC proximity to the Berkeley Repertory and Aurora The Freight & Salvage and other prominent Theatres, The Freight & Salvage, and the world- Bay Area venues; workshop opportunities class performing arts presenter Cal Performances with SFJAZZ resident and visiting artists at the University of California, Berkeley. Only half a block from BART, the CJC is easily accessible by • opportunities to record, study and perform public transportation and just 20 minutes away at the world-renowned recording facility from San Francisco. Fantasy Studios
• access to important networking opportunities A nonprofit 501(c)(3) corporation, the California Jazz Conservatory offers instrumentalists and • easy access to the San Francisco Bay Area’s vocalists a challenging core curriculum of perfor- thriving arts scene via public transportation mance, jazz theory and improvisation, ear training, composition, arranging, transcription and analysis, The California Jazz Conservatory is an Equal and music history courses taught by professional Opportunity Employer. It does not discriminate artists and educators in jazz and related styles in the admissions process or in the awarding of of music. financial aid on the basis of race, religion, sex, national origin, or disability. The CJC holds its students accountable to the highest artistic, academic and ethical standards at all times. Evaluation of students’ development is based on their performance in classes, juries and concerts and culminates in a Senior Project, a final concert open to the public, that includes a synthesis and demonstration of all of their cjc.edu artistic and academic work throughout the 4-year degree program.The California Jazz Conservatory offers students: california jazz conservatory 2015 – 2016 2015 jazz conservatory california
3 CJC VISION, MISSION, GOALS AND OBJECTIVES
VISION GOALS AND OBJECTIVES The California Jazz Conservatory aspires to be an The following five goals and corresponding internationally recognized preeminent music objectives serve to guide the CJC: conservatory dedicated to the study and perfor- mance of jazz and related styles of music from 1. Promoting Excellence in Education throughout the world. The institution educates The CJC strives to promote excellence future generations to sustain the jazz art form. in music scholarship and performance by:
• Establishing and maintaining the highest artistic MISSION and academic standards and promoting a strong The California Jazz Conservatory is a nationally work ethic. accredited music conservatory providing a dynamic
about the cjc community of students, artists, educators, scholars • Providing an educational forum on par and audiences with a forum to study, perform, with nationally-ranked institutions offering teach, research, appreciate and enjoy jazz and programs in jazz studies. related styles of music from throughout the world. Comprising two distinct education programs, the • Attracting and retaining a world-class California Jazz Conservatory, a postsecondary faculty and inspired student body. degree-granting program, and the Jazzschool Community Music School, a non-degree-granting • Providing a comprehensive curriculum and community education program, the institution supportive environment to develop artistic honors the contributions of past masters and sensibility and musicological insight relevant promotes artistic innovation, bringing together a to the aspiring jazz professional and the diverse music community to develop practical jazz enthusiast. skills, acquire artistic sensibility, realize creative • Providing a forum to exercise freedom of potential and find artistic voice. expression both individually and as a member • The California Jazz Conservatory of a group in the democratically-structured The California Jazz Conservatory is dedicated paradigm of the jazz ensemble. to the study and performance of jazz and • Maintaining a state-of-the-art, aesthetically related styles of music from throughout the pleasing, one-stop-shopping-for-jazz facility, world, fostering the development of the housing classrooms, practice rooms, intimate aspiring professional jazz musician and building performance space, book and record store, audiences to sustain the jazz art form. The CJC and café. integrates a progressive education program leading to a Bachelor of Music degree taught by 2. Fostering High Ethical Standards world-class musicians and music educators with The CJC strives to foster high ethical public performance opportunities to prepare standards by: cjc.edu future generations for a fulfilling life in jazz.
• Providing an environment that promotes the • The Jazzschool Community Music School development of well-balanced, conscientious, The Jazzschool Community Music School fosters compassionate, forward-looking individuals the development of the aspiring jazz musician who will contribute to a just society. of all ages and levels and builds audiences to sustain the jazz art form through a non-degree- granting education program integrating classes, short-term workshops, artists-in-residency, and public performance opportunities.
california jazz conservatory 2015 – 2016 2015 jazz conservatory california
4 3. Honoring Historical and Cultural Heritage • Implementing targeted community The CJC strives to honor the historical and outreach efforts and providing scholarship cultural heritage of the jazz canon by: opportunities to deserving students in need of financial assistance. • Recognizing the historical and multicultural origins of jazz. • Providing a nurturing environment for students, teachers, scholars and artists • Highlighting the prominent role the jazz in the jazz field. art form has played in shaping American history and culture. • Providing an inviting setting for family, friends, and the greater music community • Offering curricula designed to inform and to celebrate students’ accomplishments and develop an appreciation of the relationship enjoy listening to jazz in its many forms. about the cjc between jazz and American culture and the global jazz diaspora. 5. Developing Collaborations The CJC strives to build relationships and create 4. Nurturing Diversity in All of its Forms collaborations with artistic and educational The CJC strives to create a diverse, constituencies by: all-inclusive, close-knit community by: • Providing access to local, national and • Seeking and embracing the cultural richness global perspectives and new and meaningful of a diverse constituency of students, faculty, educational and artistic resources. staff and greater music community. • Creating opportunities for student and faculty exchanges with music education programs locally, nationally and internationally. cjc.edu
california jazz conservatory 2015 – 2016 2015 jazz conservatory california
5 State Licensure Questions or Complaints The CJC is a private institution approved to Any questions a student may have regarding this operate by the Bureau of Private Postsecondary catalog that have not been satisfactorily answered Education in the State of California as set forth by the institution may be directed to the Bureau in the California Private Postsecondary Education for Private Postsecondary Education at: Act of 2009 (CEC) and Title 5, Division 7.5 of the California Code of Regulations (CCR). The Act is Address administered by the Bureau for Private Post 2535 Capitol Oaks Drive secondary Education, under the Department Suite 400, Sacramento, CA 95833 of Consumer Affairs. Bureau approval means P.O. Box 980818, West the institution is in compliance with and meets the Sacramento, CA 95798-0818 minimum standards pursuant to the California Private Postsecondary Education Act of 2009. Web site address bppe.ca.gov about the cjc Bankruptcy Disclosure: the CJC has never filed a bankruptcy petition, operated as a debtor in Telephone possession, or had a bankruptcy petition filed (888) 370-7589 or Fax: (916) 263-1897 against it. (916) 431-6959 or Fax: (916) 263-1897
Accreditation A student or any member of the public may file a The California Jazz Conservatory is an accredited complaint about this institution with the Bureau institutional member of the National Association for Private Postsecondary Education by calling of Schools of Music (NASM). NASM is recognized (888) 370-7589 (toll-free) or by completing a by the United States Department of Education. complaint form, which can be obtained on the Bureau’s internet web site: bppe.ca.gov. “NASM, founded in 1924, is an organization of schools, conservatories, colleges and As a prospective student, you are encouraged to universities with approximately 644 accredited review this catalog prior to signing an enrollment institutional members. It establishes national agreement. You are also encouraged to review the standards for undergraduate and graduate School Performance Fact Sheet, which must be degrees and other credentials.” provided to you prior to signing an enrollment nasm.arts-accredit.org agreement.
Please note: This program does not lead to posi- Facilities and Student Services tions in a profession, occupation, trade, or career The CJC is housed in a 7,500 square foot field requiring licensure in the State of California. aesthetically pleasing facility, custom-designed for use as a music conservatory. Students have access to fully equipped classrooms (with pianos, drum sets, amplifiers and sound systems), practice cjc.edu
rooms, a bookstore and an intimate performance space.
Student services include: the availability of counseling and mental health services around the clock; free tickets to the CJC year round concert ot all who master their series; two regularly-priced workshops free of charge each semester; and ongoing networking N craft are artists, but all opportunities relevant to students’ professional artists are masters of their craft. aspirations. The Jazzcaffè, an on-site café special- izing in panini, salads and a wide range of espresso
california jazz conservatory 2015 – 2016 2015 jazz conservatory california — Professor Michael Zilber, Ph.D. drinks, is open to students 7 days a week. The CJC CJC Faculty provides free wireless Internet access. 6 All CJC class sessions are held at 2087 Addison The Art and Music Department can be found Street, Berkeley, California. The Fantasy Studios on the 5th floor of the Berkeley Public Library Internship Program is held at 2600 Tenth Street, and is open Mondays, 12pm – 8pm; Tuesdays, Berkeley, California. 10am – 8pm; Wednesdays, Thursdays, Fridays and Saturdays, 10am – 6pm; and Sundays, 1pm – 5pm. Visit berkeleypubliclibrary.org for a Library complete schedule of holidays.
Students have access to an extensive music Students may borrow up to 50 items at any given collection housed in the Art and Music Department time with their Berkeley Public Library card. at the Berkeley Public Library and the Jean Gray Those items not available onsite may be Hargrove Music Library on the University of Califor- acquired through Link+. nia, Berkeley campus, both located within walking distance of the CJC. Students will be given Jean Gray Hargrove Music Library. Founded in assistance with obtaining library cards to both 1947 as a branch of the University Library, the about the cjc libraries. Music Library was located on the second floor of Morrison Hall from 1957 until July 6, 2004, when The Art and Music Department at the Berkeley the Jean Gray Hargrove Music Library opened to Public Library. The scope of the music collection the public. Its collections today contain some at the Art and Music Department runs from 180,000 volumes of books and printed music, Albinoni to Zouk — on compact disc, vinyl and 50,000 sound and video recordings, and 30,000 score. The rich jazz collection ranges from reissues microforms in addition to extensive special holdings of vintage recordings to contemporary offerings of manuscripts, rare materials, and archives. The from the next generation of jazz masters. Music collection serves the diverse teaching and research from around the globe is available in the audio needs of the UC Berkeley Department of Music, collection in all formats. which offers a general undergraduate major and graduate programs in musicology, ethnomusicology, The CD collection, started in September 1985, and composition, as well as embracing a variety now includes over 14,000 titles. The Art and Music of performance activities. Department music collection also includes roughly 6,000 vinyl records. Classical, opera, jazz, world, The majority of materials in the Hargrove and popular music are represented. Printed music Music Library — with the exception of sound scores, a range of music biographies and books on and video recordings, periodicals, microforms, music theory and performance are readily available. and special collections — circulate for use outside the library. Borrowing materials requires a current The Art and Music Department subscribes to over UC Berkeley Library card. Borrowers must have forty periodicals covering a variety of musical a current library card issued by the Privileges genres, specific instruments, and recorded sound. Desk at Doe Library. Visitors are welcome to use Their periodical collection also includes the collections on-site.
impressive Greenwood Press jazz periodicals lib.berkeley.edu/MUSI/collections.html cjc.edu collection, a microfilm archive of the historical jazz periodical, containing reviews and events dating back to the 1920s.
Electronic resources available through the Berkeley Public Library website allow patrons to listen online to recordings of classical and contemporary music from around the world. california jazz conservatory 2015 – 2016 2015 jazz conservatory california
7 Record Keeping GENERAL INFORMATION The Registrar and Custodian of Records maintains a secure file for each student that contains pertinent Admission Requirements information including but not limited to: the Both incoming freshmen and transfer students are Application for Admission; transcripts from the CJC accepted into the CJC based on the following: and other institutions (including verification of high school completion or the equivalency); documents 1. A completed application form including a evidencing a student’s prior experiential learning; personal statement outlining your past class scheduling and registration; degree require- accomplishments, future objectives and ments and progress reports; attendance; grading; how and why you believe the CJC will help documents relating to tuition, financial assistance you realize them. and scholarships; records of the dates of enroll- 2. An official high school transcript. Please Note: ment, withdrawal, leaves of absence, suspension All students must have a satisfactory academic and/or dismissal from the institution and gradua- record and have earned an overall GPA of 2.0 or about the cjc tion; copies of any official advisory notices or higher to be admitted to the CJC. Transcripts warnings regarding the student’ progress; results of should be sent directly to the CJC at the juries or other examinations; copies of recordings address below. Photocopies are not accepted. programs, awards or other accomplishments of Also note: the CJC does not accept ability-to- note; and/or evaluations, suggestions and/or benefit students. complaints. The CJC shall maintain pertinent student records for a period of at least 5 years from 3. An official college transcript(s) if applicable. the student’s date of completion or withdrawal. Please Note: All students must have a satisfac- Transcripts documenting the completion of the tory academic record and have earned an degree will be maintained permanently. overall GPA of 2.0 or higher to be admitted to the CJC. Transcripts should be sent directly to Student records are strictly confidential. A student the CJC at the address below. Photocopies are wishing to disclose their educational record to any not accepted. other party must first submit written proof of autho- rization to the Registrar and Custodian of Records. 4. Two original letters of recommendation, one Authorization may be revised at any time through- of which is from a professional musician and/ out a student’s tenure at the CJC. or music educator familiar with your work and professional objectives. Photocopies are not accepted. Partnership with Berkeley City College 5. A live audition. Students living more than The California Jazz Conservatory is pleased to 150 miles from the CJC may substitute a announce the formation of a new partnership with DVD of their playing in lieu of a live audition. Berkeley City College. Located at 2050 Center (See Auditions, Audition Requirements and Street, just one block from the CJC, Berkeley City Placement Examinations, next section). College offers a wide range of courses that fulfill CJC General Studies requirements in English cjc.edu 6. Results of the Ear Training and Sight Singing, (6 credits), Humanities (6 credits) and Mathematics Jazz Theory and Improvisation and English (3 credits), and Elective requirements (5 credits). Composition Placement Exams. (See Auditions, Audition Requirements and Placement See Department of General Studies for General Examinations, next section). Studies courses approved for transfer from Berkeley City College. Elective courses must be degree-relevant and are accepted for transfer on a by-approval basis by the Dean of Instruction. For Berkeley City College course descriptions and class schedules, please visit berkeleycitycollege.edu/wp/programs/
california jazz conservatory 2015 – 2016 2015 jazz conservatory california class-schedules-and-catalogs/.
8 7. degree program, studentsare expectedtohave: Please note:To beacceptedintotheJazzStudies Application Feeto: materials alongwithanon-refundable $100 Please visitcjc.edu/applyorsendallapplication
Berkeley, CA94704 2087 AddisonStreet Office ofAdmission JazzConservatory California The • The • The • 2. Basicmusicianshipskillsincluding: AND Major, • Major, • Major • 1. For internationalstudents,aninternet-based of timesthetestmaybetaken. the testdateandthere is nolimittothenumber CJC. TOEFLscores are validfortwoyearsafter score of75orhighertobe admittedintothe TOEFL (pBT)scores. Applicants mustreceive a scores only. Please donotsubmitpaper-based The CJCacceptsinternet-basedTOEFL(iBT) or universitymayrequest TOEFLexemption. degree program atanEnglish-speakingcollege Applicants whohavecompleteda4-year Foreign Language(TOEFL) priortoenrolling. score report from theTest ofEnglishasa non-native speakersmustsubmitanofficial proficiency is required foradmission.All occurs inEnglish.AhighlevelofEnglish TOEFL (iBT)score. Allinstruction attheCJC
A basicknowledgeofmusictheoryincluding: rhythmic dictation intervals andseventhchords byear triads both treble andbassclefs
ability ability ability
and dominant minor,
minor to to to
diminished sight take identify
and scales
simple sing
minor simple
and a
and simple melodic
seventh key
and
augmented
signatures
melodic compound
and
chords
line
in
ment examisonehourinlength. length; theJazzTheoryandImprovisation place- placement examisapproximately 30minutesin directly followingtheaudition. TheMusicianship series. Placementexaminationsare administered placement intheMusicianshipandJazzTheory not graded:theyservetodetermineappropriate Theory andImprovisation. Placementexamsare ship (EarTraining andSightSinging),Jazz must taketwoplacementexaminations:Musician- All studentsapplyingforadmissiontotheCJC Placement Examinations given ashortselectiontosight-read. tune; andanup-tempojazztune.Theywillalsobe a medium-tempo12-barblues;ballad;Latin improvise overthefollowingtunesoftheirchoice: year. Studentsmustbeprepared toperformand and maybescheduledthroughout theacademic Auditions are approximately 30minutesinlength schedule youraudition. has beenreceived, theRegistrarwillcontactyouto from theCJC.Afteryourcompletedapplication audition forstudentslivingmore than150miles samples onaDVDare acceptedinlieuofalive students livinglocally;pre-recorded performance held on-site.Aliveauditionisrequired forall must auditionpriortoacceptance.Auditionsare All studentsapplyingforadmissiontotheCJC Auditions
9 california jazz conservatory 2015 – 2016 cjc.edu general information Tuition and Supplemental Fees • Enrollment Deposit New students are required to pay a non-refund- • Tuition able Enrollment Deposit of $100 at the time of Full-Time (12 credits and above / semester): their acceptance into the program. Returning $550 / credit students are required to make a non-refundable Enrollment Deposit of $200 on or before June 1, Part-Time (11 credits or fewer / semester): prior to each fall semester, and on or before $600 / credit December 1, prior to each spring semester. The Private Instruction is $1500 / credit Enrollment Deposit is credited to students’ tuition for the upcoming semester. A late fee of $100 per Trio Instruction is $1000 / credit month will apply to an Enrollment Deposit made after the due date. Tuition is due at the time of registration. (See registration dates listed in the Academic • Course Materials Calendar on the inside front cover of the General Students should expect to pay approximately $300 Catalog.) Please note: Students are subject to a for texts and supporting course materials per late payment fee of $50/month. Failure to pay semester. tuition and fees on time may result in dropping students from classes. Students with overdue • Computer Requirements tuition may not register for succeeding semesters. Instruction at the CJC utilizes many modern Transcripts will not be released to students with technologies and internet resources, and all outstanding tuition. Please note: tuition at the
general information students are expected to own or have access to a California Jazz Conservatory is subject to increase computer running Mac OS 10.5 or Windows 7 at by approximately 4% per year. minimum with high-speed internet access for research, communication and coursework. For • Application Fee music technology courses, a laptop with a recent Students must pay a one-time, non-refundable version of Sibelius and Pro Tools is required to Application Fee of $100. The Application Fee is participate. If purchasing a computer and software submitted along with the Application for Admission. specifically for this program, we recommend a Macintosh laptop, a standard word processing • Registration Fee suite such as Microsoft Office or OpenOffice, and A non-refundable Registration Fee of $50 is the Sibelius music notation program, for maximum charged per semester. Students registering after compatibility with the material and software being the deadline will be charged a Late Registration taught. Fee of $50 (please see Academic Calendar 2015 – 2016 on the inside front cover for registration • Library Cards deadlines). California residents are entitled to a Berkeley Public Library card. There is a $100 annual fee for a library card for the Jean Gray Hargrove Library at UC
cjc.edu Berkeley.
• Challenge Examinations he strong sense of The fee for Challenge Examinations (testing out of a course) is $275 per course. T community and low student to teacher ratio at the CJC fosters an educational environment that encourages creativity and growth.
california jazz conservatory 2015 – 2016 2015 jazz conservatory california — Professor Jeff Denson, DMA CJC Faculty 10 • Transcripts The State of California created the Student Tuition Official transcripts are issued for a fee of $10 per Recovery Fund (STRF) to relieve or mitigate transcript. Unofficial transcripts are free of charge. economic losses suffered by students in educa- To request a transcript, please contact the tional programs who are California residents, or are Registrar at registrar @cjc.edu. enrolled in a residency programs attending certain schools regulated by the Bureau for Private • Student Tuition Recovery Fund (STRF): Postsecondary Education. Students are required to pay the non-refundable state-imposed assessment for the Student Tuition You may be eligible for STRF if you are a California Recovery Fund (STRF) of $.50 per every $1,000 of resident or are enrolled in a residency program, tuition each semester. California law requires that prepaid tuition, paid the STRF assessment, and upon enrollment a fee be assessed relative to the suffered an economic loss as a result of any of cost of tuition. These fees support the Student the following: Tuition Recovery Fund (STRF), a special fund established by the California Legislature to 1. The school closed before the course of reimburse students who might otherwise experi- instruction was completed. ence a financial loss as a result of untimely school closure. Institutional participation is mandatory. 2. The school’s failure to pay refunds or charges on behalf of a student to a third party for license You must pay the state-imposed assessment for fees or any other purpose, or to provide the Student Tuition Recovery Fund (STRF) if all of equipment or materials for which a charge was
the following applies to you: collected within 180 days before the closure of general information the school. 1. You are a student in an educational program, who is a California resident, or are enrolled in a 3. The school’s failure to pay or reimburse loan residency program, and prepay all or part of proceeds under a federally guaranteed student your tuition either by cash, guaranteed student loan program as required by law or to pay or loans, or personal loans, and reimburse proceeds received by the school prior to closure in excess of tuition and other costs. 2. Your total charges are not paid by any third- party payer such as an employer, government 4. There was a material failure to comply with program or other payer unless you have a the Act or this Division within 30 days before the separate agreement to repay the third party. school closed or, if the material failure began earlier than 30 days prior to closure, the period You are not eligible for protection from the STRF determined by the Bureau. and you are not required to pay the STRF assess- ment, if either of the following applies: 5. An inability after diligent efforts to prosecute, prove, and collect on a judgment against the 1. You are not a California resident, or are not institution for a violation of the Act.
enrolled in a residency program, or cjc.edu However, no claim can be paid to any student 2. Your total charges are paid by a third party, without a social security number or a taxpayer such as an employer, government program identification number. or other payer, and you have no separate agreement to repay the third party. california jazz conservatory 2015 – 2016 2015 jazz conservatory california
11 • Summary of Tuition and Supplemental Fees Private Instruction — Application Fee (one-time, non-refundable): Students are required to take fifteen one-hour $100 private lessons per semester. Please see p. 60 for a list of approved private instruction faculty. The rate — Enrollment Deposit (per semester, non- for private instruction is $1500 per semester and refundable; applied to tuition): $100 (new includes the cost of CJC room rental. Private students); $200 (returning students) lessons are scheduled on a to-be-arranged basis — Enrollment Deposit Late Fee (per month): between student and teacher. All fifteen hours $100 (See under Enrollment Deposit) of private instruction must be completed within — Registration Fee (per semester, the semester in which the student is enrolled. non-refundable): $50 In addition to the 8-credit Private Instruction — Late Registration Fee (per semester): $50 requirement, students may choose to use 4 Elective — Late Payment Fee (per month): $50 (per credits toward private instruction on an instrument/ terms of the Enrollment Agreement) voice other than their primary instrument/voice. For — Tuition: $550 / credit, full-time enrollment; example, a guitarist pursuing a career as a singer/ $600 / credit, part-time enrollment songwriter may take up to 4 Elective credits of Private Instruction in vocal technique. — Private Instruction: $1500 / credit — Trio Ensembles: $1,000 / credit — STRF fee: $.50 per $1,000 of tuition (per Financial Assistance / Loans
general information semester); see under Student Tuition California Jazz Conservatory is currently in the Recovery Fund process of applying for approval to participate in the Federal Student Aid program. In the interim, — Challenge Examinations: $275 / course qualified students may apply to the CJC for a — Textbooks and supporting materials: $300 / payment plan. Payment plans are approved on semester (estimated) a case-by-case basis based on need. To apply for — Music Software: $600 (estimated) a payment plan or to schedule a consultation regarding an application for a payment plan, — Library Fee (annually): $0 – $100 please email the registrar @cjc.edu. Student must — Transcripts: $10 per official transcript maintain an overall grade point average of 2.0 or higher to be eligible for a payment plan. • Total Program Charges Please note: if a student obtains a loan from a Full-time enrollment ($550 / credit): third party to pay for an educational program, the $82,900 (instrumentalists @ 136 credits); student will have the responsibility to repay the full $81,800 (pianists and vocalists @ 134 credits) amount of the loan plus interest, less the amount Part-time enrollment ($600 / credit): of any refund, and that, if the student has received $89,300 (instrumentalists @ 136 credits); federal student financial aid funds, the student is $88,100 (pianists and vocalists @ 134 credits) cjc.edu entitled to a refund of the monies not paid from federal student financial aid program funds. All CJC student loans must be paid in full to graduate.
he loudest noise in the T universe is silence. — Thelonious Monk california jazz conservatory 2015 – 2016 2015 jazz conservatory california
12 Scholarships The Code of Academic Integrity prohibits CJC awards unsolicited partial scholarships on students from engaging in any acts of academic occasion to qualified students based on a combi- dishonesty whatsoever including but not limited nation of artistic merit and financial need. Students to: plagiarizing; lying; cheating; and/or fraud. must maintain a cumulative GPA of 3.0, and earn a Under the Code of Academic Integrity: C or higher in all classes, to remain eligible for scholarships. Students receiving a scholarship who Plagiarizing is defined as taking ownership of the earn a non-passing grade of C- or lower in any work or idea of another as one’s own without required courses are responsible for retaking those crediting the source. courses at their own expense. Lying is defined as making a false statement The following scholarships are awarded to CJC which is intended to deceive. students who demonstrate a combination of Cheating is defined as benefitting from artistic promise, commitment to excellence, acting dishonestly or unfairly. and financial need on an as-available basis: Fraud is defined as serving as an impostor for • The Jamey Aebersold Scholarship personal gain. Established in honor of Jamey Aebersold, one of the world’s leaders in jazz education All alleged infractions of the Code of Academic and performance, the Jamey Aebersold Integrity should be reported to the Dean of Scholarship provides financial support for Instruction in writing. The Dean of Instruction, promising CJC students.
together with the student’s instructor, will thor- general information • The William E. Robinson Scholarship oughly review the allegations for their veracity, and The William E. Robinson Scholarship is based on their findings, will determine the appro- awarded to a CJC student who demonstrates priate action. Proof of violation of the Code of commitment to excellence in the fields of jazz Academic Integrity will result in either reprimand and related styles of music. and a loss of credit for the assignment, loss of credit for the course, suspension for one year, or permanent dismissal, depending on the serious- Work Study ness of the offense. Students found in violation CJC offers work-study opportunities on an must meet with the Dean of Instruction in person as-available basis. Work-study positions may include at which time they will be given a written notice accompaniment, light office work, bookstore staffing citing the infraction and consequences of the and more. Please inquire regarding availability of offense. Any academic and/or financial penalties work-study positions. will apply as of that date.
Please note: In the case of suspension, a student is Code of Academic Integrity required to reapply for admission into the program Academic integrity is central to forwarding the as a new student (see under Admission Require- mission, goals and objectives of the California Jazz ments). In the case of dismissal, a student may not cjc.edu
Conservatory. The CJC is committed to providing reapply for admission into the program. Violation an environment conducive to all aspects of of the Code of Academic Integrity that results in teaching and learning. CJC students are held to either suspension or dismissal will be permanently the highest moral and ethical standards and are attached to a student’s transcript. obligated to conduct themselves in a manner consistent with the principles as stated in the Code of Academic Integrity as follows: california jazz conservatory 2015 – 2016 2015 jazz conservatory california
13 Code of Conduct • Non-consensual physical contact of a sexual The CJC is committed to providing our colle- nature giate community of students, faculty and staff with an environment conducive to the freedom to • Damaging or defacing CJC property teach and to learn — a setting that promotes or resources intellectual freedom, nurtures individual creativity • Theft or attempted theft and self-expression and is free from discrimination of any kind. Violations of the Student Code of • Possession of weaponry of any kind Conduct include but are not limited to the follow- ing on-campus acts: All alleged infractions of the Code of Conduct should be reported to the Dean of Instruction in • Verbal, physical or written harassment based on writing. The Dean of Instruction, together with the race, color, creed, religion, national or ethnic student’s instructor, will thoroughly review the origin, age, handicap, gender, sexual orientation allegations for their veracity, and based on their or other findings, will determine the appropriate action. • Use or sale of illegal drugs Proof of violation of any aspect of the Code of Conduct will result in either reprimand, probation • Alcohol intoxication for the remainder of the semester and subsequent semester, suspension for one year, or permanent • Smoking within 50 feet of campus dismissal, depending on the seriousness of the offense. Students found in violation must meet with • Disorderly conduct of any kind
general information the Dean of Instruction in person at which time they will be given a written notice citing the infraction and consequences of the offense. Please note: Academic and financial penalties (see under Cancellations, Withdrawals and Refunds and Adding, Dropping and Withdrawing from Courses) will apply as of the date of the written notice. Please note: In the case of suspension, a student is required to reapply for admission into the program as a new student (see under Admission Requirements). In the case of dismissal, a student may not reapply for admission into the program. Violation of the Student Code of Conduct that results in either suspension or dismissal will be permanently attached to a student’s transcript.
cjc.edu Students enrolled in the CJC are held to the highest standards of conduct and must obey federal, state and local laws. california jazz conservatory 2015 – 2016 2015 jazz conservatory california
14 Academic Standing Housing Undergraduate students are classified as either There are no living accommodations available Lower or Upper Division. through the CJC at this time. The CJC is not responsible for finding or assisting a student in Lower Division students include: finding housing. CJC students are responsible for making arrangements for their own housing. The Freshman — Students who have completed CJC is located within easy walking distance of a 0 – 33 credits of passing work and have passed number of student-friendly apartment complexes their freshman jury. in downtown Berkeley and the nearby vicinity and Sophomore — Students who have is also easily accessible by BART for students who completed 34 – 67 credits of passing work and wish to live outside of the city. As of May 2013, have passed their sophomore jury. average monthly apartment rent in Berkeley ranged from $1740 for a studio; $2104 for a Upper Division students include: one-bedroom; and $2652 for a two-bedroom Junior — Students who have completed apartment. Visit mynewplace.com/city/berkeley- 68 – 101 credits of passing work and have apartments-for-rent-california for more information passed their junior jury. on apartment rentals in Berkeley. Senior — Students who have completed International Students 102 – 136 credits of passing work and have The CJC is not yet SEVIS approved. It cannot issue passed their senior jury. I-20’s for F-1 visas and therefore cannot accept
international students at this time. general information
Academic Probation, Suspension and Dismissal All students must maintain a minimum cumulative grade point average of 2.0 or higher to remain in good academic standing (see Grading). Academic Probation — A student whose cumula- tive grade point average falls below 2.0 will be placed on academic probation for one semester. A student must raise his/her cumulative grade point average to a minimum of 2.0 and maintain it for at least one additional semester for academic y experience at the CJC has probation to be lifted. M been nothing short of magical every single day. The faculty, in Academic Suspension — A student whose cumulative grade point average falls below 2.0 addition to being the best players while on academic probation will be suspended in their field, are also great teachers. for one year and must reapply for admission
into the program as a new student (see under They really demonstrate that they cjc.edu
Admission Requirements). want the students to succeed in becoming the next generation of Academic Dismissal — A student who is sus- pended for the second time will be dismissed and great players. may not reapply for admission into the program. — Dillon Vado, CJC Student Please note: Students must maintain a minimum cumulative grade point average of 2.0 to be eligible for payment plans or scholarships. california jazz conservatory 2015 – 2016 2015 jazz conservatory california
15 POLICIES All financial and academic penalties apply as of the date the notice to permanently withdraw is Student Enrollment Agreement received by the Registrar (see under Refunds Students must sign the CJC Student Enrollment below, and Adding, Dropping and Withdrawing Agreement prior to enrolling in classes each from Courses). Exceptions may be made for family semester. This document serves as a binding or medical emergencies with valid documentation. agreement between the student and the school Please note: Students who have permanently formalizing the details of the student’s financial withdrawn and subsequently wish to return to the policies obligations to the school and the school’s CJC must reapply for admission as a new student obligations to the student. (see under Admission Requirements).
Refunds — New students who cancel the Cancellations, Withdrawals and Refunds Enrollment Agreement within the aforementioned timeframe may obtain a 100 percent refund of Cancellation — A student has the right to cancel charges paid less the Application Fee ($100), the Enrollment Agreement and obtain a refund of Registration Fee ($50) and Enrollment Deposit charges paid through attendance at the first class ($100). Returning students who cancel the Enroll- session, or the seventh day after enrollment, ment Agreement within the aforementioned whichever is later. A notice of cancellation shall be timeframe may obtain a 100 percent refund of in writing and submitted to the Registrar. The charges paid less the Registration Fee ($50) and notice to cancel the Enrollment Agreement will be Enrollment Deposit ($200). considered effective no later than the date it is received by the Registrar. Refunds for students who withdraw during a Withdrawal — A student who wishes to period of attendance are calculated as follows: permanently withdraw from the CJC must file a Students who have completed 60 percent or less Withdrawal Form with the Registrar. Withdrawal of the period of attendance shall receive a refund Forms are available from the Registrar in the Main calculated on a pro rata basis. Refunds shall be Office. The notice to permanently withdraw will be calculated based on the total amount owed by the considered effective no later than the date it is student for the portion of the educational program received by the Registrar. Permanent withdrawal completed as of the date of receipt of the notice may be effectuated by a student’s written notice or of cancellation or withdrawal. by a student’s conduct, including, but not neces- sarily limited to, a student’s lack of attendance (see A pro rata refund shall be no less than the total under Code of Conduct and Attendance). amount owed by the student for the portion of the educational program provided subtracted from the amount paid by the student, calculated as follows: The amount owed equals the daily charge for the program (total institutional charge, divided by the number of days or hours in
cjc.edu the program), multiplied by the number of days student attended, or was scheduled to attend, prior to withdrawal. california jazz conservatory 2015 – 2016 2015 jazz conservatory california
16 Please note: A student who has been enrolled for Attendance more than nine weeks (60 percent of the term) is Students must attend all class meetings, rehears- not eligible for a refund. als and performances on a timely basis, barring illness or family emergency. Chronic tardiness or The CJC shall issue or credit refunds within 45 failure to attend class regularly may adversely calendar days of a student’s cancellation, with- affect student grades; please see individual class drawal or completion of the program. syllabi for attendance policies specific to each course.
Upon a student’s failure to pay a debt owed to the policies CJC, permission to register for the forthcoming Students missing 15% or more of class time semester may be withheld. The CJC also reserves per course, per semester, may be dropped the right to withhold a student’s transcript until the from the course by the instructor with approval debt and all costs associated with collecting it are from the Dean of Instruction (a “mandatory paid in full. drop”). In the case of a mandatory drop, academic and financial penalties will apply (see under Cancellations, Withdrawals and Refunds Leaves of Absence and Adding, Dropping and Withdrawing from Students who wish to take a temporary leave of Courses) as of the date of the requested manda- absence between semesters for professional, tory drop, which shall be submitted in writing to medical or personal reasons must submit a request the Dean of Instruction for approval. in writing to the Dean of Instruction. Leaves of absence may not exceed two consecutive semes- ters without permission from the Dean of Instruc- Grading and Academic Penalties tion. Leave of Absence Request forms may be Grades are based on a combination of attendance, obtained from the Registrar in the Main Office and progress, written assignments, exams and perfor- must be submitted to the Dean of Instruction prior mances. Students must maintain a grade point to the first day of instruction of the semester for average of 2.0 or higher in all classes to remain in which the leave is requested. good academic standing. The CJC adheres to the following grading scale: Students who wish to take a leave of absence from the CJC during a semester are subject to all A+ 100% – 99% = 4.0 academic and financial penalties (see under A 98% – 93% = 4.0 Cancellations, Withdrawals and Refunds and A- 92% – 90% = 3.7 Adding, Dropping and Withdrawing from Courses) B+ 89% – 87% = 3.3 as of the date of the requested leave of absence. B 86% – 83% = 3.0 Exceptions may be made for family or medical B- 82% – 80% = 2.7 emergencies with valid documentation. C+ 79% – 77% = 2.3 C 76% – 73% = 2.0 Students taking a leave of absence for more than C- 72% – 70% = 1.7
two semesters must reapply for admission as a new D+ 69% – 67% = 1.3 cjc.edu student (see under Admission Requirements). D 66% – 63% = 1.0 D- 62% – 60% = 0.7 F 59% and below = 0.0
Please note: To advance, a student must receive a letter grade of no less than C. A student receiving a grade of less than ‘C’ or ‘W’ in a required course must retake it at his/her own expense and receive a grade of ‘C’ or higher to graduate. california jazz conservatory 2015 – 2016 2015 jazz conservatory california
17 “W” — Withdrew Weeks 5 and 6: Students may drop courses The grade of “W” is given when a student with- and receive a “W” on their transcript (see under draws from a course within weeks 5 and 6. Please Grading and Academic Penalties). note: A ‘W’ is not factored into the calculation of a student’s grade point average, but may be of Weeks 7 and 8: Students may drop courses with concern to a potential employer or a graduate the consent of the instructor and Dean of school. Instruction and receive a “WP” (Withdrew Passing) or “WF” (Withdrew Failing) on their
policies “WP” — Withdrew Passing transcript (see under Grading and Academic The grade of “WP” is given when a student Penalties). has been granted approval for withdrawal from a course within weeks 7 – 8, and at the time of After week eight, students will be permitted to withdrawal, was passing the course. withdraw from courses without academic penalty for medical or family emergencies only. Students “WF” — Withdrew Failing are required to provide the Registrar with valid The grade of “WF” is given when a student documentation for all medical or family emergen- has been granted approval for withdrawal cies. Students withdrawing from courses after from a course within weeks 7– 8, and at the week eight for any reason other than a medical or time of withdrawal, was failing the course. family emergency will receive the grade of ‘F’ in those courses. “I” — Incomplete A student who has satisfactorily completed a substantial portion of the coursework may request Challenge Examinations a temporary grade of Incomplete (‘I’) if he/she is Students may take a Challenge Examination to unable to complete a course due to circumstances demonstrate their ability to meet the learning beyond their control. Requests must be made no objectives of the following course requirements: later than the last class meeting and are granted at MUS101, MUS102, HAR200A, TEC100 and the discretion of the instructor. Coursework must TEC101. Successful completion of a Challenge be completed prior to completion of the next Examination allows a student to that requirement consecutive semester to convert the grade of ‘I’ to within the undergraduate program. The fee for tak- a passing grade of ‘A’, ‘B’ or ‘C’. Exceptions may ing a Challenge Examination is $275 per course. be made with prior approval from the instructor Please contact the Dean of Instruction to schedule with approval from the Dean of Instruction. a Challenge Examination. Coursework submitted after the deadline without prior approval will automatically result in a perma- nent grade of ‘I – F’and will be averaged into Credit for Prior Experiential Learning students’ GPA as ‘F’. Students entering the CJC may bring with them a wealth of prior, non-college experiential learning in Adding, Dropping and the field of jazz performance. Recognizing the
cjc.edu Withdrawing from Courses value of these experiences, the CJC offers stu- Students wishing to add, drop or withdraw from a dents the opportunity to earn credit in private course must do so in writing. Add/Drop/Withdraw instruction and/or performance, based on their forms are available from the Registrar in the Main performance and recording portfolio. Office. Students may add, drop or withdraw from a course as follows: Credit for prior experiential learning is granted only to matriculated students. The amount of Weeks 1 and 2: Students may add or drop credit is determined and documented in writing by courses without academic penalty. No new CJC faculty with relevant credentials. Instrumental- courses may be added after week two. ists may be granted a maximum of 28 credits for prior experiential learning; vocalists may be Weeks 3 and 4: Students may drop courses granted a maximum of 36 credits for prior experi- california jazz conservatory 2015 – 2016 2015 jazz conservatory california without academic penalty. ential learning.
18 ofCredit Hours • CalculationsfortheDetermination the samebasis. of 15weeks.Short-termofferings are calculatedon hours ofworkoutsidetheclassroom foraperiod classroom instructionplusaminimumoftwo The semester-hour ofcredit represents onehourof • DefinitionofSemester-Hour ofCredit Credit HourPolicies ential learning.’ on astudent’s transcriptas‘credit forpriorexperi- from theDeanofInstructionandwillberecorded musthaveapprovalfor priorexperientiallearning gained through theirexperiences.Credit granted ences perse,butratheronthestudent’s ability Credit isnotgrantedbasedonthestudent’s experi application. recitation and period ofcombined is givenforone60-minute courses, onehourofcredit material. Inlecture/laboratory hands-on applicationofcourse as coursesthatcombineslecture with Lecture/laboratory courses are defined Lecture/Laboratory Courses period ofrecitation. credit isgivenforone60-minute of hour one primarily lecture-style format. Inlecture courses, Lecture courseare definedascoursesina Lecture Courses
- exam in the form ofapublicperformance. exam intheform 15-week semesterofclassroom workplusafinal vised. Vocalists 3hoursofcredit earn foreach total of3hoursperweek.Allare super instruction. Vocal classesmeetfora performance is givenforone60-minuteperiodofsupervised classes,onehourofcreditIn vocalperformance ofapublicperformance. final examintheform 15-week semesterofclassroom instructionplusa large 2hoursofcredit ensemblesearn foreach unsupervised. Instrumentalistsinbothsmalland per week.2hoursare supervisedand1houris Instrumental ensemblesmeetforatotalof3hours 30-minute periodofunsupervisedinstruction. 60-minute periodofsupervisedinstructionplusone ensembles, onehourofcredit isgivenforone * Pleasenote:Ininstrumentalperformance periods ofapplication.* one hourofcredit isgivenfortwo60-minute primarily hands-onformat.Inlaboratorycourses, Laboratory coursesare definedascoursesina Laboratory Courses - 19 california jazz conservatory 2015 – 2016 cjc.edu policies • Private Instruction present the findings of their research to the public Private Instruction is defined as a course in a in the form of a paper, lecture/demonstration or one-on-one format focusing on technique on an concert. The designated faculty advisor provides instrument or voice. Private Instruction faculty also supervision three times throughout semester. An prepare students for their annual juries. Students evaluation of the completed project is submitted must complete fifteen 1-hour lessons within each to the Dean of Instruction in writing. Students are given semester to earn one credit. Note: Private graded on a pass/no pass basis. instruction may not extend beyond the immediate policies 15-week semester. • Workshops Workshops are defined as short-term courses or • Independent Study programs in a lecture/laboratory format usually Independent Study is defined as time spent with a visiting artist and often concluding with a independently completing a proposed research public performance. In workshops, credit hours for project that extends above and beyond the workshops are calculated on the same basis as parameters of the curriculum. Students are credit hours for lecture/laboratory courses i.e., required to submit a proposal in writing to the one hour of credit is given for one 60-minute period Dean of Instruction outlining: the project scope; of recitation/application. objectives; time frame for completion; and their preferred faculty advisor. In Independent Study, Transfer Credit one hour of credit is given for a minimum of one Students who wish to transfer to the CJC must 60-minute period of research per week per provide an official satisfactory academic record 15-week semester. Students are required to and have earned an overall GPA of 2.0 or higher to be admitted to the CJC.
The CJC grants course credit to transfer students for the English Communication, Arts and Humani- ties and Mathematics and Quantitative Reasoning General Studies requirements earned at any fully accredited institution. The Social Sciences General Studies requirement (HIS100A- HIS200B Jazz History) and Physical Sciences General Studies requirement (SCI300) are not transferable from any other institution. These requirements must be fulfilled at the CJC.
The CJC accepts up to 5 Elective credits relevant to the program’s purposes from any fully accred-
cjc.edu ited institution.
california jazz conservatory 2015 – 2016 2015 jazz conservatory california
20 NOTICE CONCERNING TRANSFERABILITY Student Right to Privacy OF CREDITS AND CREDENTIALS EARNED Matriculated students are afforded the following AT OUR INSTITUTION rights regarding access to and privacy of their personal information and educational records: The transferability of credits you earn at the CJC is at the complete discretion of an institution to 1. Students have the right to inspect and review which you may seek to transfer. Acceptance of the the education record maintained by the CJC degree you earn in Jazz Studies is also at the through the office of the Registrar. complete discretion of the institution to which you policies may seek to transfer. If the degree that you earn at 2. Students have the right to request that the this institution is not accepted at the institution to Registrar correct any records they believe to be which you seek to transfer, you may be required to inaccurate or misleading. The Dean of Instruction repeat some or all of your coursework at that shall serve as mediator should information be institution. For this reason you should make certain contested. If the Dean of Instruction deems that your attendance at this institution will meet the request to amend a record unfounded, your educational goals. This may include contact- students have the right to place a written ing an institution to which you may seek to transfer statement in their file, documenting after attending the CJC to determine if your their position. degree will transfer. 3. Students have the right to privacy regarding any personal information including but not limited to Faculty Advisors information provided on their application, dates of After a student is admitted to the CJC, he attendance, grading, scholarship awards and/or or she is assigned a faculty advisor to assist with financial assistance. The CJC must have written overall academic planning. Faculty advisors are permission on file from the student to release any available to assist CJC students Monday – Friday information from a student’s education record. from 10am – 4pm. Please call 510.845.5373 to schedule an appointment. Injury Prevention Student Grievances The CJC places great importance on the Students with complaints regarding their academic prevention of injury resulting from activities progress must first discuss the issue with their inherent in the life of a musician. These include but instructor. If the issue is not resolved to their are not limited to practicing, performing and/or satisfaction, they may file a grievance with the listening, as related to both vocal and musculoskel- Dean of Instruction in writing. If the issue is still etal health. Injury prevention is specifically not resolved to their satisfaction, they may contact addressed in the following courses: Audio for Live the Bureau of Private Post Secondary Education at: Performance (required); Yoga for Musicians 888.370.7589 or complete a complaint form which (elective); Vocal Technique for Instrumentalists can be obtained on the Bureau’s website: (elective); and the Alexander Technique (elective).
bppe.ca.gov. Injury prevention is also addressed in instrumental cjc.edu and vocal private instruction (required). california jazz conservatory 2015 – 2016 2015 jazz conservatory california
21 THE BACHELOR OF MUSIC DEGREE Performance IN JAZZ STUDIES The Jazz Studies undergraduate degree program has performance at its center. Curriculum Requirements Instrumentalists are required to take a total of 20 units of performance ensembles including jazz Instrumentalists — The CJC awards the Bachelor (8), big band (2), Afro-Caribbean (2), Brazilian of Music degree in Jazz Studies to instrumental (2) and three ensembles of their choice (6). students who satisfactorily complete 134 – 136 Instrumentalists may also use 4 Elective credits credits of study divided among: a) core music toward performance ensembles. (See Instrumental courses 89 (pianists) / 91 (non-pianists); b) elective and Vocal Curricula.) courses (15 credits) and c) general studies courses (30 credits). Instrumentalists must pass juries Vocalists are required to take a total of 28 units annually. (See Curriculum Requirements Template of performance courses in both solo and ensem- — Instrumentalists). ble formats. Repertoire covers a wide range of styles from the Great American Songbook to contemporary jazz, world and popular music. Vocalists — The CJC awards the Bachelor of Vocalists may also use 4 Elective credits toward Music degree in Jazz Studies to vocal students performance ensembles. (See Instrumental and who satisfactorily complete 136 credits of study Vocal Curricula). divided among: a) core courses (91 credits); b) elective courses (15 credits) and c) general Public performance is an integral component of studies courses (30 credits). Vocalists must pass students’ tenure at the CJC. Students perform juries annually. (See Curriculum Requirements for the public a minimum of twice per year. Template — Vocalists). Performances include concerts at the CJC, dates at clubs throughout the Bay Area, and appearances at specially scheduled events. Residency Requirements bachelor of music degree All instrumentalists and vocalists are required to Additionally, students may attend over one complete a minimum of 34 credits in residence hundred concerts scheduled at the CJC throughout during their junior and/or senior year at the CJC. the year free of charge. The CJC Concert Series features a range of local, national and international artists. Visiting artists of note have included the Juries and Senior Project Heath Bros., Theo Bleckmann, Kenny Werner, Taylor Students must pass a jury in each of their fresh- Eigsti, Peter Erskine, Quartet San Francisco, Pete man, sophomore, junior and senior years. Juries Escovedo, Paula West, John Zorn, Geoffrey Keezer, serve to evaluate students’ progress in private Ambrose Akinmusire and many others! instruction. Students must be registered for PRV100A – PRV400B to be eligible to take their
cjc.edu jury examination. Students admitted in the fall Core Music Courses: Instrumental Track semester perform juries in week 16 of the follow- Instrumentalists are required to take 89 ing spring semester; students admitted in the (pianists) / 91 (non-pianists) credits of the spring semester perform juries in week 16 of following Core Music Courses: 20 credits of the following fall semester. Jury Requirements stylistically varying performance ensembles over are available online at cjc.edu. Hard copies are eight semesters including: jazz (8 credits); big band also available in the CJC Main Office. (2 credits); Afro-Caribbean (2 credits); Brazilian (2 credits); Indian (2 credits); and ensembles of their Graduating seniors must complete a Senior Project choice (4 credits). 4 additional credits may be taken comprising a performance of original compositions as Elective courses. Additional required Core and/or arrangements in a full length concert open courses include: ear training and sight-singing to the public. (12 credits); keyboard proficiency (2 credits); jazz california jazz conservatory 2015 – 2016 2015 jazz conservatory california theory and improvisation (12 credits); form and
22 analysis of jazz standards (4 credits); jazz composi- Independent Study tion (3 credits); jazz arranging (3 credits); the music Independent Study affords junior- and senior- of Latin America (2 credits); jazz and intercultural standing students an opportunity to independently practice (2 credits); Western European harmonic undertake special research-oriented projects practice (6 credits); Western European music extending above and beyond the parameters history (6 credits); music technology (5 credits); of the curriculum. business of music (4 credits); private instruction (8 credits); and a senior project (2 credits). Students may apply up to 4 Elective credits to Independent Study. Students interested in pursu- ing Independent Study are required to submit a Core Music Courses: Vocal Track proposal in writing to the Dean of Instruction Vocalists are required to take 91 credits of outlining: the project scope; objectives; time frame the following Core Music Courses: 28 credits for completion; and their preferred faculty advisor. of stylistically varying performance ensembles over eight semesters including: Vocal Performance Upon approval, students are required to sign a (24 credits); and Vocal Jazz Ensemble (4 credits). contract with their advisor agreeing to complete 4 additional performance credits may be taken as the project. A letter grade is issued based upon Elective courses. Additional required courses completion of projected objectives within the include: ear training and sight-singing (12 credits); proposed timeframe. keyboard proficiency (2 credits); jazz theory and improvisation (12 credits); jazz composition (3 credits); jazz arranging (3 credits); Western European Keyboard Proficiency harmonic practice (6 credits); Western European All students must demonstrate a basic level music history (6 credits); music technology (5 of keyboard proficiency to graduate, either by credits); business of music (4 credits); private completing Beginning Piano for Non-Pianists instruction (8 credits); and a senior project (2 credits). and Jazz Piano for Non-Pianists, or by passing an equivalent keyboard proficiency exam. Keyboard proficiency exams are given on a bachelor of music degree Elective Courses to-be-arranged basis throughout the year. All students are required to complete 15 credits of degree-relevant Elective courses. (See under Course Descriptions). Workshops and Master Classes Students have the opportunity to attend a broad range of specialized short-term workshops taught General Studies Courses by local and visiting artists throughout the year. A range of General Studies courses is offered at Previous workshops by visiting faculty include the CJC. The CJC also accepts select General Bobby McFerrin, Geoffrey Keezer, Christian Studies requirements/electives from any fully McBride, Kurt Elling, Jeff “Tain” Watts, Nancy accredited institution. Tuition for General Studies King, Ron Carter, Dave Weckl, Nnenna Freelon,
courses at other institutions is additional. Matt Wilson, Rudresh Mahanthappa, Dafnis cjc.edu Prieto, Winard Harper, Taylor Eigsti, Donald All students are required to take 30 credits of General Harrison, Uri Caine, and others. In addition to Studies courses. General Studies requirements attending master classes, students often have the include: English Communication (6 credits); Social opportunity to schedule private lessons with visiting Sciences (12 credits); Arts and Humanities (6 credits); artists. The cost of private lessons with visiting Mathematics and Quantitative Reasoning (3 credits); artists varies and is on a to-be-arranged basis and Physical Sciences (3 credits). (See Department of between the student and artist. General Studies beginning on page 46.)
Please note: the Social Sciences and Physical Sciences General Studies requirements are not transferable from another institution. These – 2016 2015 jazz conservatory california requirements must be fulfilled at the CJC. 23 CURRICULUM REQUIREMENTS TEMPLATE INSTRUMENTALCURRICULUM REQUIREMENTS TRACK TEMPLATE — INSTRUMENTAL TRACK
s e m e s t e r TOTALS PER Required Courses 1 2 3 4 5 6 7 8 AREA
Musicianship 3 3 3 3 0 0 0 0 12 Keyboard Proficiency 1 1 0 0 0 0 0 0 2 Jazz Theory and Improvisation 3 3 3 3 3 0 0 0 15 Form and Analysis of Jazz Standards 0 0 0 0 0 0 2 0 2 Western European Music History 0 0 0 0 3 3 0 0 6 Latin American Roots of Jazz 0 0 0 0 0 0 2 0 2 Jazz and Intercultural Practice 0 0 0 0 0 0 0 2 2 Western European Music History 0 0 0 0 3 3 0 0 6 Instrumental Performance Ensemble 2 2 4 4 2 2 2 2 20 Jazz Composition 0 0 0 0 3 0 0 0 3 Jazz Arranging (Small Ensemble) 0 0 0 0 0 3 0 0 3 Business of Music 0 0 0 0 0 0 2 2 4 Music Technology 0 0 2 0 0 0 3 0 5 Private Instruction 1 1 1 1 1 1 1 1 8 Senior Project 0 0 0 0 0 0 0 1 1 Electives* 1 1 1 3 2 2 2 3 15 English 3 3 0 0 0 0 0 0 6 cjc.edu
Humanities 0 0 0 0 0 3 0 3 6 Social Sciences 3 3 3 3 0 0 0 0 12 Mathematics 0 0 0 0 0 0 3 0 3 Physical Science 0 0 0 0 0 0 0 3 3
Semester Totals 17 17 17 17 17 17 17 17 136
california jazz conservatory 2015 – 2016 2015 jazz conservatory california * 4 credits may be taken as Independent Study; Four-Year Total = 136 4 credits may be taken as Performance (pianists = 134) 24 CURRICULUM REQUIREMENTS TEMPLATE VOCALCURRICULUM TRACK REQUIREMENTS TEMPLATE — VOCAL TRACK
s e m e s t e r TOTALS PER Required Courses 1 2 3 4 5 6 7 8 AREA
Musicianship 3 3 3 3 0 0 0 0 12 Keyboard Proficiency 1 1 0 0 0 0 0 0 2 Jazz Theory and Improvisation 3 3 3 3 0 0 0 0 12 Form and Analysis of Jazz Standards 0 0 0 0 0 0 0 0 0 Western European Music History 0 0 0 0 3 3 0 0 6 Latin American Roots of Jazz 0 0 0 0 0 0 2 0 0 Jazz and Intercultural Practice 0 0 0 0 0 0 0 2 0 Western European Music History 0 0 0 0 3 3 0 0 6 Vocal Performance 3 3 3 3 3 3 3 3 24 Vocal Jazz Ensemble 0 0 0 0 2 2 0 0 4 Lyric Writing 0 2 0 0 0 0 0 0 2 Jazz Composition 0 0 0 0 3 0 0 0 3 Jazz Arranging (Small Ensemble) 0 0 0 0 0 3 0 0 0 Business of Music 0 0 0 0 0 0 2 2 4 Music Technology 0 0 2 0 0 0 3 0 5 Private Instruction 1 1 1 1 1 1 1 1 8 Senior Project 0 0 0 0 0 0 0 1 1
Electives* 0 1 0 3 2 4 2 3 15 cjc.edu
English 3 0 3 0 0 0 0 0 6 Humanities 0 0 0 0 0 0 3 3 6 Social Sciences 3 3 3 3 0 0 0 0 12 Mathematics 0 0 0 0 0 0 3 0 3 Physical Science 0 0 0 0 0 0 0 3 3
Semester Totals 17 17 18 16 17 16 17 16 134 california jazz conservatory 2015 – 2016 2015 jazz conservatory california * 4 credits may be taken as Independent Study; Four-Year Total = 134 4 credits may be taken as Performance 25 cjc.edu
california jazz conservatory 2015 – 2016 2015 jazz conservatory california
26 Prerequisites: MUS101 orconsentofinstructor. composing andarranging. applied tostandard jazzrepertoire. Usefulfor voicings, voiceleading,soloingandcomping,as An introduction tojazzpianotechniqueaddressing 1 credit, 1hourlecture/lab Jazz PianoforNon-Pianists Keyboard Proficiency — MUS201 repertoire. Servesasprerequisite forMUS201 . covering scales,reading andplayingbasic Entry-level keyboard technique fornon-pianists 1 credit, 1hourlecture/lab Piano forNon-Pianists Keyboard Proficiency — MUS101 Prerequisites: MUS200B. chord recognition, andtranscription. sight singing,reading, rhythm,interval and rhythmic, melodicandharmonicmaterial.Includes develop auralandvisualperception ofadvanced A continuationofMUS200B.Designedtofurther Elective —3credits, 3hourslecture/lab Advanced Musicianship MUS300A andMUS300B is jazz-based. harmonic componentsofmusic.Coursematerial and visualperception ofrhythmic, melodicand A four-semester coursedesignedtodevelopaural 3 credits, 3hourslecture/lab Ear Training andSight-Singing MUS100A ,MUS200B,MUS200AandMUS200B courses are upperdivisioncourses. division courses.The300-and400-numbered The 100-and200-numbered coursesare lower Course Numbering COURSE DESCRIPTIONS MUSICIANSHIP EATET F UI STUDIES MUSIC OF DEPARTMENT MUS104 recommended fordrummers andvocalists. in thecorresponding musicianship class;highly Suggested prerequisites: Concurrent enrollment strengthen musicianshipskills. A supplementtoMUS100A,acoursedesigned Elective —1credit, 2hourslab Supplemental MusicianshipSkills MUS103A, MUS103B,MUS203AandMUS203B for core muscianshiporjazztheoryclasses tute forinstrumentalorVocal PrivateInstruction,or of MUS102.Pleasenote:MUS102isnotasubsti- history. Studentsmaytakeupto8electivecredits theory, harmony, composition,arrangingand of areas includingbutnotlimitedtomusicianship, Individual supplementalinstructioninawiderange Elective —1credit, 1hourlecture/lab Individual Tutorial to instrumentalistsandvocalists. skills relevant tothejazzmusicgenre. Open A labfocusingondevelopingsightreading Elective —1credit, 2hourslab Sight ReadingWorkshop MUS202 of Vocal Technique forInstrumentalists. Instrumentalists maytakeupto2credits presence andmicrophone technique. and contemporaryjazz.Coversbasicstage Great AmericanSongbook andstandard interpretation. Repertoire includesthe An introduction tovocaltechnique andsong Elective —1credit, 1hour lecture/lab Vocal Technique forInstrumentalists MUS110 and voice. and related stylesofmusic. Allinstruments Basic drumsettechniqueasappliedtojazz Elective —2credits, 2hours lecture/lab Drum SetTechnique forNon-Drummers MUS102
27 california jazz conservatory 2015 – 2016 cjc.edu course descriptions 28 california jazz conservatory 2015 – 2016 cjc.edu course descriptions music stylespastandpresent. jazz, Afro-Caribbean, SouthAmericanandWorld and therhythmsectionasacredit asappliedto section. Coursecoverstherole oftheindividual on rhythmicconsiderationsrelevant totherhythm pianists, guitarists,bassistsanddrummersfocusing A two-semesterhands-on,interactivecoursefor Elective —2credits, 2hours lecture/lab the RhythmSection Practical Applicationsfor MUS209A andMUS209B is required. An acousticguitar(playedwithapick) from DjangoReinhardt tothepresent. and technicalaspectsofgypsyjazzguitarstyle Analysis andpracticalapplicationofthestylistic 2 credits, 2hourslecture/lab Gypsy JazzGuitarStyleandTechnique MUS208 bass ensemble. facility through selectrepertoire fordouble A coursedesignedtodeveloptechnical Elective —2credits, 2hours lecture/lab Double BassEnsembleWorkshop MUS207 Big BandReadingbySteveHoughton. and GilBreinnes. Recommendedtext:Studioand ReadingTextReed; Modern in4/4byLouisBellson texts: Progressive StepstoSyncopationbyTed changes andutilizingtheclicktrack.Required set-ups, fills,tempomodulation,negotiatingstick and showarrangements.Coversarticulations, pre-recorded jazz,funk,Latin,pop,rock, fusion large andsmallensemble.Studentsworkwith ing standard leadsheetsanddrumchartsforboth develop proficiency insight reading andinterpret- A hands-onworkshopfordrummersdesignedto 3 credits, 3hourslecture/lab Chart ReadingWorkshop forDrummers MUS205 MUS250 (aacmstore.org) College Store inBerkeley may bepurchased orrented from theAliAkbar vocalists. Studentsmustownorrent tabla.Tabla Prerequisites: Opentoinstrumentalistsand and otherstylesofmusic. compositional conceptsare alsoappliedtojazz vocal percussion syllables.Soloing,arranging,and Indian rhythmiccyclesthrough therecitation of and classicalcompositions,mastercomplex North Indianrhythmicconceptsthrough exercises percussion. Studentslearnthefundamentalsof techniques required forthepracticeofIndian posture, toneproduction andhandfinger An introductory coursefocusingonproper Elective —2credits, 2hourslecture/lab Introduction toNorthIndian Tabla and thePatMethenyGroup amongothers. Orchestra, DaveHolland,Sting,BradMehldau by groups includingDaveBrubeck,Mahavishnu genres. Studentsstudyapproaches embodied and mixedmetersasappliedtojazzfunk A classfocusingongrooves andsolosoverodd Elective —2credits, 2hours lecture/lab Drum Grooves andSolosinOddMeters MUS308 concepts oftala.Prerequisites: Musicianship100B. of themelodicconceptsraga,andrhythmic ization withtheIndiansolfègesystem,exploration this courseincludesparticipatorysinging,familiar tion. Opentobothvocalistsandinstrumentalists, practices ofthetraditionalNorthIndianvocaltradi A generaloverviewofthestyles,formsand Elective —2credits, 2hours lecture/lab Through Voice North IndianMusicFundamentals MUS150 - - MUS190A andMUS190B independence andtheall-importantghostnotes. niques include odd meters,lineardrumming,funk personalstyles.Tech- theirrespective into jazz of technique and syncopation offunkandthe finesse others whoblendedthepowerofrock, the among Smith Steve Stubblefield, AlexAcuna, Bernard Purdie, PeterErskine,BillyCobham,Clyde Tony Williams,SteveGadd,Dave Garibaldi, masters and technicalapproaches utilizedbyfusion sixties tothepresent. Studentslearnthestylistic Fusion drummingstylesandtechniquesfrom the Elective —2credits, 2hourslecture/lab Fusion DrummingStylesandTechniques awareness ofthemoment. eases performanceanxietyandpromotes greater lung capacityandreduce stress; andmeditation result from playing;breathing techniquesincrease exercises alleviatetheaches andpainsthatcan and spirit.Warm-ups, stretches andposture A courseformusicianstostrengthen mind,body Elective —1credit, 1hours lab Yoga forMusicians MUS309 rhythmic andmelodicunderpinningsofsignificant vocalists gainadeeperunderstandingofthe movement andthevoice.Instrumentalists of selectrepertoire through coordinated physical Interpreting distinctrhythmic andmelodicaspects Elective —2credits, 2hours lecture/lab to JazzRepertoire The ApplicationofEurhythmics MUS204 of movementinpracticeandperformance. mentalists andvocaliststodeveloppoiseease music. TheAlexanderTechnique enablesinstru- freedom ofexpression andthejoyofplaying interfere withtechnicalfacility, soundquality, tension andunconscioushabitsofmisusecan pain and/orstagefright.Inappropriate muscular to prevent andresolve playing-related injuries, Technique, amethodusedbymusiciansworldwide A hands-onintroduction totheAlexander Elective —2credits, 2hourslecture/lab Alexander Technique MUS191 jazz andrelated repertoire tofacilitate performance. Note:studentsare advised towearcomfortable clothing toclass.
29 california jazz conservatory 2015 – 2016 cjc.edu course descriptions 30 california jazz conservatory 2015 – 2016 cjc.edu course descriptions the developmentofindividualstyle. course laysimportantgroundwork criticalin relevant exercises andrepertoire inclass.This recordings ofleadingjazzartistsandappliedto Theoretical conceptsare illustratedwithselect reharmonization, andtranscriptionanalysis. fundamentals tochord/scale theory, soloing, of jazztheoryandimprovisation, from the and beyond.Studentsgainasolidunderstanding to thecontemporaryartistryofHerbieHancock, twentieth centuryinnovationsofLouisArmstrong, artistic practiceofjazzmasters,from theearly improvisation techniquesandstylesbasedonthe A four-semester coursecoveringjazztheoryand 3 credits, 3hourslecture/lab Jazz TheoryandImprovisation THE100A, THE100B,THE200AandTHE200B THEORY greatest jazzartistsofalltime. transcription andanalysisofthe and improvisation, culminatingin jazz eartrainingandtheory two, butfoursemestersofhands-on out there. Acore curriculumofnot T — LisaFeldman,CJCStudent — LisaFeldman,CJCStudent greatest jazzartistsofalltime. transcription andanalysisofthe and improvisation, culminatingin jazz eartrainingandtheory two, butfoursemestersofhands-on out there. Acore curriculumofnot T most in-depthstudyofjazz he CJCprovides someofthe most in-depthstudyofjazz he CJCprovides someofthe Prerequisites: MUS100AandTHE100A Analysis oftheJazzMasters Advanced Transcription and THE300B Prerequisite: THE200Borconsentofinstructor. and outofthechanges.’ and release, mostcommonlyknownas‘playingin the goldstandard forcontrolled harmonictension control ofconsonanceanddissonancethatremains decade movedittoanewlevelofsophisticated Brecker, ChickCorea andotherswholaterthat the workofDavidLiebman,alongwithMichael chromaticism inthe1960s,thiscourseaddresses began developinganadvancedjazzlanguageof the secondMilesDavisquintetwhoindependently Jazz Harmony”.BeginningwithJohnColtraneand ed inhisseminalbook“AChromatic Approach to approaches DavidLiebmaninnovatedandexpand- An introduction totheharmonicandmelodic 2 credits, 2hourslecture/lab Advanced JazzTheoryandImprovisation THE300A analysis ofmore challenging worksbyjazzmasters. Improvisation, focusingon transcriptionand A continuationofTHE300AJazzTheoryand Elective —3credits, 3hours lecture/lab tion. Allinstrumentsandvoice. THE301 application tocompositionandimprovisa- Form andAnalysisofJazzStandards and oddrhythmgroupings andtheir 2 credits, 2hourslecture/lab The nature andhistoryofpolyrhythms A courseinanensembleformatfocusing on formandanalysisofjazzstandards 2 hourslecture/lab essential totheprofessional musician. Elective —2credits, Prerequisite: THE200Borconcurrent Rhythm Groupings THE302 enrollment. Polyrhythms andOdd
students’ compositionaland improvisational skills. to anyinstrumentandstyle ofmusic,enriching cultural applicationsofIndian rhythmicconcepts Emphasis isplacedonpointing outthecross- well asitsinfluenceonJazzoverthelast50years. the historyandtheoryofNorthIndianrhythmas such astablaandpakhawaj.Thisclassdelvesinto of classicalNorthIndianpercussion instruments rhythmic compositionsdrawnfrom therepertoire musical idea).StudentslearntraditionalIndian (thrice-repeated cadentialphrasesusedtoenda cycles), layakari(rhythmicmodulation),andtihai Indian rhythmicidiomssuchastala(rhythmic syllables knownbols,studentsare introduced to music. Through themedium ofvocalpercussion concepts from theNorth Indian systemofclassical An in-depthexplorationoftraditionalrhythmic Elective —3credits, 3hours lecture/lab Traditional NorthIndianRhythmicConcepts THE250 Prerequisites: THE200Borconcurrent enrollment. development ofindividualstyle. class. Thiscourselaysgroundwork criticalinthe and appliedtorelevant exercises andrepertoire in with selectrecordings ofleadingLatinjazzartists and analysis.Theoretical concepts are illustrated theory, soloing,reharmonization, andtranscription including thefunctionofclave—tochord/scale improvisation, from therhythmicfundamentals— gain anunderstandingofLatinjazztheoryand artistry ofEddiePalmieriandbeyond.Students tions ofArsenioRodrigueztothecontemporary masters, from theearlytwentieth centuryinnova- styles basedontheartisticpracticeofLatinjazz Latin jazztheoryandimprovisation techniquesand Elective —3credits, 3hourslecture/lab Latin JazzTheoryandImprovisation THE330 Prerequisites: AminimumofTHE100B. improvisation. fundamental devicesemployedinmodernjazz bop mastersaswellin-classapplicationofthe mance ofkeytranscriptionsbebopandpost- post-bop traditions.Includesanalysisandperfor soloing techniquesidiomatictothebebopand A coursefocusingondevelopingsingleline Elective —3credits, 3hourslecture/lab Single LineSoloing THE205 - HAR380A students’ compositionalandimprovisational skills. instrument andanystyleofmusic,enriching cross-cultural applicationsofIndianrhythmstoany morsing. Emphasisisplacedonpointingoutthe tabla, mridangam,kanjira,ghatam,thavil,and of classicalIndianpercussion instrumentssuchas rhythmic compositionsdrawnfrom therepertoire musical idea).StudentslearntraditionalIndian (thrice-repeated cadentialphrasesusedtoenda beat), layakari(rhythmicmodulation),andmora (rhythmic cycles),nadai(oddsubdivisionsofthe duced toIndianrhythmicidiomssuchastala syllables knownassolkattu,studentsare intro- music. Through themediumofvocalpercussion concepts from theSouthIndiansystemofclassical An in-depthexplorationoftraditionalrhythmic Elective —3credits, 3hourslecture/lab Traditional SouthIndianRhythmicConcepts THE251 techniques. chromatic modulation,andtwelve-tone chords, augmented6thchords, diatonicand niques related tosequences,mixture, Neapolitan course coversformalanalysis,advancedtech- and ContemporaryPeriods,thissecond-semester Focusing oncompositionalstylesoftheRomantic 3 credits, 3hourslecture Practice from 1820tothePresent Western European Harmonic HAR380B analysis. minor, chord inversions,andanintroduction to chord progressions inthediatonicmajorand leading, cadences,theoryofchord progression, figured bass,harmonization ofmelodies,voice preparatory materialforthe studyofharmony, Classical periods,thisfirst-semestercoursecovers Focusing oncompositionsfrom theBaroque and 3 credits, 3hourslecture Practice from 1600to1820 Western European Harmonic HARMONY 31 california jazz conservatory 2015 – 2016 cjc.edu course descriptions LEADING JAZZ-RELEVANT 100% JAZZ FACULTY 100% MUSIC
JAZZ-RELEVANT PERFORMANCE-CENTERED 100% EDUCATION 100% PROGRAM a synergistic comprehensive jazz education and performance program 34 california jazz conservatory 2015 – 2016 cjc.edu course descriptions COM210 instrumentalists. own compositions.Opentovocalistsand to selectinstrumentalworksaswelltheir Students buildarepertoire oforiginallyricsset popular songwritersJoniMitchellandSting. Annie Ross,KurtEllingandKingPleasure; and Howard Dietz;vocalesewordsmiths JonHendricks, Songbook legendsLorenz Hart,ColePorterand utilized bylyricistsincludingGreat American A coursefocusingonthevarioustechniques 2 credits, 2hourslecture/lab Lyric Writing COMPOSITION advanced compositiontechniquesandtheir A continuationofCOM300.seminaraddressing Elective —3credits, 3hours lecture/lab Jazz CompositionSeminar COM400 applied tostudents’work. relevant pastmastersare alsoexaminedand Mozart, Beethoven,Brahms,Debussyandother and rhythmictechniquesemployedinthemusicof Pastorius, Towner andmore. Melodic,harmonic Henderson, Shorter, Brecker, Liebman,Grolnick, Parker, Silver, Mingus,Monk, Coltrane,Hancock, new work.ComposersstudiedincludeEllington, composers asapointofdeparture increating compositional stylesandtechniquesofthemaster A concentratedwritingcourseutilizingthe 3 credits, 3hourslecture/lab Jazz Composition COM300 practical applicationinperformance. Prerequisites: COM300orconsent of instructor. and fuguesofJ.S.Bach. contrapuntal workincludingthe canons,inventions minor modes.Analysisofarange ofimportant combined speciesinthree voices,in major and two- andthree-part speciescounterpoint, and leading. Includesthewritingofcantusfirmus, vocal music,providing asolidfoundationforvoice teenth- andeighteenth-centuryinstrumental and Contrapuntal techniquesandstylesofseven- Elective —2credits, 2hourslecture/lab Counterpoint COM380 consent ofinstructor. for fullbigband.Prerequisite: Sibelius. Thefinalproject isanarrangement completed onaprogram suchasFinaleor arranging projects. Allassignments mustbe by RayburnWright. Students are assignedthree tration techniques.Required Score text:Insidethe , five hornsandlarge ensemble texture andorches- development ofform,chord voicingsformore than also explore different techniquesforlarge scale from DukeEllingtontoMaria Schneider, students voices. Through analysisof worksbythemasters how toharmonizeamovingmelodiclinewithfive out ascore, howtovoice chorale-stylechords, and instruments, rulesfornotatingrhythm,howtolay Students review rangesand characteristicsof arranging techniquesforthelarge ensemble. A one-semesterintroductory courseonbasicjazz Elective —3credits, 3hours lecture/lab Jazz Arranging—LargeEnsemble COM301B Composing —aLinearApproach, byBillDobbins. Required texts: recorded. is arrangement forfivehornsandrhythmsectionthat to fivearrangingprojects. Thefinal project isan addressing form. Students are assignedthree with twotofivevoices,andvariouswaysof chords, howtoharmonizeamovingmelodicline set amelodytochords, howtovoicechorale-style to compose melodiesandchord progressions, how score, howtowritefortherhythmsection, ments, rulesfornotatingrhythm,howtolayouta Students learnrangesandcharacteristicsofinstru- techniquesforthesmallensemble. arranging A one-semesterintroductory courseonbasicjazz 3 credits, 3hourslecture/lab Jazz Arranging—SmallEnsemble COM301A Jazz Arranging and Jazz Arrangingand or COM301A or
HIS100A at theCJC. institution. Thisrequirement mustbefulfilled requirement isnottransferablefrom another requirement. HIS100A – 200BfulfillstheCJCSocialSciences the idealsoffreedom anddemocracy. celebrated asaculturalartformembodying urban dancemusicthathasbecomeglobally solid understandingofjazz,atwentieth-century listening, reading anddiscussion,studentsgaina performed internationallytoday. Through extensive Europe andtheNewWorld, tothemusicthat is in themusicalcultures ofWest Africa,Western cultural developmentofjazz,from itsantecedents A four-semester courseexaminingthemusicaland Jazz History recordings. and theinventionofradiosound boom andtheGreat BlackMigration,World War I, ncluding post-bellumsegregation, theindustrial the historicalcontextofAmericansocialforces music. Thedevelopmentofjazzisstudiedwithin other AfricanAmericansacred andsecular and itsoriginsinspirituals,blues,ragtime conventions thatformthefoundationofjazz, conceptual approaches, practices, andcultural by 1917.ThecoursefocusesontheWest African Orleans thatbecameknowntotheworldasjazz of jazzpre-1900, andonthe earlymusicofNew European musicandculture onthedevelopment African, Caribbean,SouthAmerican,Asianand This courseexaminestheinfluencesof West 3 credits, 3hourslecture and EarlyJazz,Pre-1900 – 1919 Jazz History — TheRootsofJazz HISTORY Please note:theSocialSciences
35 california jazz conservatory 2015 – 2016 cjc.edu course descriptions 36 36 california jazz conservatory 2015 – 2016 cjc.edu course descriptions Prerequisite: HIS100B. historical epochsupontheevolutionofjazz. burgeoning CivilRightsMovement andother the hegemonyoftelevision,advertising, of World War II,theAtomicAgeandColdWar, draw connec rhythmic creativity, andfolkinfluences.Students on instrumentalgrouping, structural,harmonicand many oftheircollaboratorsare examined,focusing Silver’s JazzMessengers,OrnetteColemanand Modern JazzQuartet,ArtBlakey’s andHorace Thelonious Monk,MilesDavis,MaxRoach,the and otherstylescreated by DizzyGillespie, ing bebop,hard bop,funk, Latinjazz,cool through thebeginningsof free jazz.Stylesinclud- focus onthemusicalinnovationsofmodernjazz This courseexplores jazz as anartform,witha 3 credits, 3hourslecture in Americafrom 1940 – 1959 Jazz History — StyleandCulture HIS200A touchstones. Prerequisite: HIS100A. book, amongothersocioeconomicandcultural musical theaterandtheGreat AmericanSong- the riseofsoundmotionpictures, American the Great Depression, ballrooms andbigbands, contexts ofthepost-World War Ieconomicboom, Fitzgerald andmanyothersisstudiedwithinthe Armstrong, DukeEllington,CountBasie,Ella bands andthejitterbug.ThemusicofLouis the Prohibition erathrough thereign oftheswing A surveyofearlyjazzstylesfrom theJazzAgeof Requirement —3credits, 3hourslecture in Americafrom 1920– 1939 Jazz History—StyleandCulture HIS100B — MilesDavis I I canleaveout. also listentowhat tions betweenthemid-centuryimpact
HIS200B music throughout theworld. friendly competitionthatcontinuetoinfluence improvisation, syncopation, callandresponse and parades, brassbandsandothermusicemploying modern NewOrleans-stylefuneralmarches, street well asin-classperformanceoftraditionaland tinge. Includesanalysisofimportantrecordings as various cultures withgospel, bluesandtheLatin drumming traditionsthatfusedelementsfrom cultural resilience through dance,singingand Explores theAfricanAmerican experienceof the wellspringofAmericanartform,jazz. for musicinnovationandculturalexchangethatis international portofNewOrleans,themeltingpot A coursetracingthemusicalinfluenceof Elective —2credits, 2hourslecture New Orleans:TheBirthplaceofJazz HIS301 Prerequisite: HIS200A. styles, forms andinstrumentsintothejazzworld. to infuseadiverserangeofcompositional continues from Africa,Asia,andtheNewWorld musicians rary from traditionalandcontempo- influences global of return of jazz to its danceinflux steady The origins. the and al, et Hancock, Weather Report,ChickCorea, fusion musicofMilesDavisandhiscollaborators,Herbie ideas ofWyntonMarsalisjuxtaposedwiththeelectronic New evolution offree jazzwiththeAACM,1970s subgenres ofpost-Coltranejazz,particularlythe This coursesurveystherangeofidiomsand 3 credits, 3hourslecture in Americafrom 1960 – Present Jazz History — StyleandCulture
York
Loft
Scene,
jazz
in
Europe,
the
music
and
HIS302 acoustic sounds. bluegrass), amongothercontemporary singer-songwriter, andnewgrass (progressive from traditionalcountry, bluesandbluegrass,to significance ofAmericanacousticmusicstyles, A surveycourseonthehistoryandcultural Elective —2credits, 2hourslecture from 1900 – Present History ofAmericanRootsMusic HIS305 jazz to“timenochanges,”fusion. bebop tocool,hard boptomodal,orchestral traces thedevelopmentofmodernjazzfrom and thoseofhistoweringsidemen,thiscourse movement andmusician.Through hisrecordings Miles directly influencedeveryimportantjazz Parker’s group in1945untilhisdeath1991, that spannedsixdecades.BeginningwithCharlie throughout arecording andperformingcareer facet ofAmerica’s mostimportantartform and innovatorMilesDavisshapedvirtuallyevery figures inmodernjazz,trumpetplayer, bandleader Arguably oneofthemostimportantandinfluential Elective —3credits, 3hourslecture/lab The MilesDavisLegacy
I C KWAM OLEMAN , CJ C F AC UL TY THE200B or permission ofinstructor.THE200B orpermission jazz repertoire. Prerequisites: MUS200Band of thehard bopstyletoin-classperformanceof and more. Studentsapplyconceptscharacteristic Messengers ‘familytree,’ MilesDavis’smallgroups Note Records artistssuchasArtBlakey’s Jazz inherent injazz.Recordings includeiconicBlue focusing inparticularonthecollaborativespirit and discussselectedworksofhard bopmasters, and 60shard bopera,studentslistento,explore Drawing onquintessentialrecordings ofthe50s 3 hours,credits listening The LanguageofHard Bop HIS308
/
lab
37 37 california jazz conservatory 2015 – 2016 cjc.edu course descriptions 38 california jazz conservatory 2015 – 2016 cjc.edu course descriptions ability toimprovise. Prerequisites: Knowledge ofjazztheoryandsome players havemadetothebroader jazzartform. important stylisticcontributionsbowedstring class format,studentsgaininsightintothe to thepresent. Inacombinedlecture andmaster players injazzfrom thelatenineteenthcentury An in-depthstudyofinfluentialbowedstring Elective —2credits, 2hourslecture Bowed StringPlayersinJazz HIS320 reviews oftwolivejazzconcerts. the course.Studentsare asked toattendandwrite of therenowned artistsare shownthroughout created andhasevolved. Filmshortsofsome a greater understandingof howthismusicwas of thesocialclimateeachperiod,fostering supporting them.Lectures includeanoverview familiar withtheimportantinstrumentalists nuances uniquetoeachartistaswellbecome and itsfuture. Studentslearn toidentifystylistic Vaughan andEllaFitzgerald—ontojazztoday to the“holytrinity”—BillieHoliday, Sarah work songs,fieldhollers,spirituals,ragandblues, tions, beginningwiththeprecursors ofjazzfrom gamut ofjazzsingersandtheirgreatest contribu- the voice.Studentslistentoandlearnabouta singers from theperspective ofthefirstinstrument, A historyclassfocusingonthelegendaryjazz Elective —2credits, 2hourslecture The JazzSingers HIS310 Prerequisite: HIS100Aorconsentofinstructor National MuseumofAmericanHistory. Smithsonian JazzOralHistoryProgram atthe with andcontributetothecollectionof with theSmithsonianInstitution,studentswork techniques andtheirapplication.Inpartnership interviews; andinterview, audiovisualandarchival research, preparation, transcriptionandanalysisof phies; oralhistorymethodologiesincluding review focusingonbiographiesandautobiogra- Students learnresearch techniquesinliterature An introduction tojazzoralhistorymethodology. Elective —3credits, 3hourslecture/lab Jazz OralHistoryMethodology HIS309
HIS270 jazz application. the worldandtheircross-cultural andinter-cultural This coursereviews selected musicaltraditionsof 2 credits, 2hourslecture Jazz andIntercultural Practice HIS360 jazz from bothstylisticandhistoricalperspectives. and discussionbroadens anunderstandingof present. Musicisanalyzedthrough lecture, listening Students listentorare recordings from 1900tothe tial the historicaldevelopmentofespeciallyinfluen- branches ofthesametree. Emphasisisplacedon brought Afro-Latino musicandjazztogether as the pan-Americansociopoliticalcircumstances that Afro-Latino roots ofjazz.Thiscourseexamines A surveyoftheevolutionandrelevance ofthe 2 hourslecture 2 credits (mayalsobetakenasanElective), Latin AmericanRootsofJazz ogy intherecording studio. and theircreative useofnewly-availabletechnol- impeccable songwriting,their rapidrisetofame, the 1960s.Attentionisgiven to thegroup’s vibrant social,cultural,andpolitical climateof framing thegroup’s career inthecontextof parable Englishrock andpopgroup TheBeatles, An examinationofthelifeandworkincom- Elective —3credits, 3hourslecture The Beatles HIS370 Larry GrahamandGCS,George Duke. Blood, Azteca,SonsofChamplin,PointerSisters, as BayArea-based bandsTower ofPower, Cold Report, andHerbieHancock’s Headhuntersas well adelic, Earth,WindandFire, MilesDavis,Weather the FamilyStone,OhioPlayers,ParliamentFunk- covered includeRayCharles, JamesBrown, Slyand emergence ofalternative cultures. Artistsandbands Black Power, Women’s Rights,GayRightsandthe and 70s,includingthestrugglesforCivilRights, also reflected theradical socialchangeofthe60s hip hop,Afro-Caribbean and SouthAmerican,funk wide rangeofmusicsincludinggospel,rock, jazz, genrea thatoriginatedinthe 1960s.Influencing A coursetracingthehistoryoffunk,R&B-based Elective —3credits, 2hourslecture History ofFunk HIS330
music
of
Cuba,
New
York
and
Puerto
Rico.
economic andpoliticalconditionsofeachperiod. periods andbeyond.Emphasisonthesocio- the Classical,RomanticandTwentieth Century on themusicalstylesofmastercomposers through thetwentiethcentury andbeyondfocusing European artmusicfrom themiddle18thcentury This coursetracesthedevelopmentofWestern 3 credits, 3hourslecture from 1750tothePresent History ofWestern European Music HIS380B conditions thatgaverisetothem. Emphasis onthesocio-economicandpolitical the Medieval,RenaissanceandBaroque periods. the musicalstylesofmastercomposers through themiddle18thcentury, focusingon European artmusicfrom the10thcentury This coursetracesthedevelopmentofWestern 3 credits, 3hourslecture from Antiquityto1750 History ofWestern European Music HIS380A — StephenDuPraw, T the dots. classes, soI’malwaysconnecting private lessonsandperformance CJC Student in contentamongcoursework, here’s anaturaloverlap
one hourperweekwithselectfaculty. Eight semestersofprivateinstructionforvocalists, 1 credit, 1hourlecture Vocal PrivateInstruction 310A, 310B,410Aand410B PRV110A, 110B,210A,210B, Western European classicalrepertoire. semester ofprivateinstructionfocusingon faculty. Instrumentalstudentsmusttakeone instrumentalists, onehourperweekwithselect Eight semestersofprivateinstructionfor 1 credit, 1hourlecture Instrumental PrivateInstruction 300A, 300B,400Aand400B PRV100A, 100B,200A,200B, PRIVATE INSTRUCTION 39 39 california jazz conservatory 2015 – 2016 cjc.edu course descriptions 40 california jazz conservatory 2015 – 2016 cjc.edu course descriptions PRF100 –400 Pastorius andJean-LucPontyamongothers. including ChickCorea, John McLaughlin,Jaco Repertoire bycomposers inthejazzfusiontradition 3 hourslab credits, 2 Jazz FusionEnsemble PRF203 The repertoire ofMilesDavisandWayne Shorter. 2 credits, 3hourslab Miles /Wayne Ensemble PRF201 The repertoire ofHoraceSilver. 2 credits, 3hourslab The MusicofHoraceSilver PRF101 Standard andcontemporaryjazzrepertoire. 2 credits, 3hourslab Jazz Repertoire Ensemble PRF 000SERIES—JAZZ ENSEMBLES PRF207 repertoire arrangedfor4–8guitarists. Jazz, LatinAmericanandWestern European 2 credits, 3hourslab Guitar Ensemble PRF206 guitar, piano,bass,drums,andsaxophone. The repertoire ofWes Montgomery. Opento 2 credits, 3hourslab Music ofWes Montgomery PRF205 accordion, sologuitar, rhythmguitarandbass. among others.Opentovoice,violin,viola,cello, including DjangoReinhardt andStephaneGrappelli Repertoire bycomposersinthegypsyjazztradition 3 hourslab credits, 2 Gypsy JazzEnsemble meter arrangementsofjazzstandards. Svensson andJeff Beckamong others;alsoodd Nascimento, NguyenLe,AirtoMoreira, Esbjorn including JohnMcLaughlin,George Duke,Milton Repertoire inoddmeters bycomposers 2 credits, 3hours lab Odd MeterEnsemble PRF301 the 1940stopresent. Repertoire ofbluesandR&B composersfrom 2 credits, 3hourslab Blues andR&BEnsemble PRF204 PRF302 New OrleansEnsemble— 1920s tothePresent 2 credits, 3hours lab Repertoire ofcomposersintheearly New Orleansjazztraditionincluding Joe “King”Oliver, LouisArmstrong and thePreservation HallJazz Band alongwithcurrent funkand brass bandscomingoutofthe by ear. “Crescent City”includingRebirth Emphasis onlearningrepertoire and theDirtyDozenBrassBand. Brass Band,Trombone Shorty Instruction Rateappliestothiscourse(seep.10). on bass;andonedrums.Note:TheTrio to twostudentsandonefaculty:onhorn; Standard andcontemporaryjazzrepertoire. Open 1 credit, 1hourlab TrioJazz Horn PRF306D Instruction Rateappliestothiscourse(seep.10). one onbass;anddrums.Note:TheTrio to twostudentsandonefaculty:onorgan; Standard andcontemporary jazzrepertoire. Open 1 credit, 1hourlab Jazz OrganTrio PRF306C Instruction Rateappliestothiscourse(seep.10). one onbass;anddrums.Note:TheTrio to twostudentsandonefaculty:onguitar; Standard andcontemporary jazzrepertoire. Open 1 credit, 1hourlab Jazz GuitarTrio PRF306B Instruction Rateappliestothiscourse(seep.10). on bass;andonedrums.Note:TheTrio to twostudentsandonefaculty:onpiano; Standard andcontemporary jazzrepertoire. Open 1 credit, 1hourlab Jazz PianoTrio PRF306A bigbandliterature. contemporary and Standard 2 credits, 3hourslab CJC JazzOrchestra PRF305 The repertoire ofArtBlakey. 2 credits, 3hourslab Art BlakeyEnsemble PRF304 The repertoire ofCharlesMingus. 2 credits, 3hourslab Charles MingusEnsemble PRF303
PRF409 by ensemblestudents. Repertoire composedand performedexclusively 2 credits, 3hourslab Original CompositionsEnsemble PRF408 read rhythmicnotation. hand drumandsticktechniquetheabilityto students’ originalwork.Prerequisite: Intermediate Repertoire bynotedcomposers;alsofeatures credits,32 hours lab Percussion Ensemble PRF309 in thejazztradition. Repertoire ofspontaneouslycomposedmusic credits,32 hours lab Improvised MusicEnsemble PRF308 to 2violinists,1violistandcellist. Edgar MeyerandEvanPriceamongothers.Open Turtle IslandQuartet,Darol Ander, Jean-LucPonty, tradition includingQuartetSanFrancisco,the Repertoire ofcomposersinthejazzstringquartet credits,32 hours lab Jazz StringQuartet PRF321 cellists anddoublebassists. Price amongothers.Opentoviolinists,violists, Anger, Jean-Luc Ponty, EdgarMeyerandEvan tradition includingtheTurtle IslandQuartet,Darol Repertoire ofcomposers in thejazzstrings credits,32 hours lab Jazz StringsChamberEnsemble PRF 120–420 Henderson andWayne Shorter, amongothers. tradition includingJohnColtrane,MilesDavis,Joe The repertoire ofcomposersinthepost-bop 2 credits, 3hourslab Post-Bop Ensemble PRF 020 SERIES —STRING ENSEMBLES 41 california jazz conservatory 2015 – 2016 cjc.edu course descriptions 42 42 california jazz conservatory 2015 – 2016 cjc.edu course descriptions PRF230 instrumentation welcome! Lobo andSteveErquiaga amongothers.Diverse monti, JoseMariadeAbreu, Toninho Horta,Edu tradition includingAstorPiazzola,EgbertoGis- Repertoire ofcomposersintheLatinAmerican credits,32 hours lab Tangos, Choros andFrevos PRF338 Curet Alonsoamongothers. Aguabella, EddiePalmieri,MachitoandTite tradition includingTitoPuente,Francisco The repertoire ofcomposersintheAfro-Cuban 3 hourslab credits, 2 Afro-Cuban Orchestra PRF336 ability toread rhythmicnotation. and sticktechniquecoordination, andthe repertoire. Prerequisites: handdrum Intermediate popular andcontemporaryLatinAmerican The historyandperformanceoftraditional, 3 hourslab credits, 2 Afro-Latin Percussion Ensemble PRF335 The repertoire ofEddiePalmieri. 3 hourslab credits, 2 Eddie PalmieriEnsemble PRF232 Romero andSimónDíazamongothers. jazz traditionincludingAquilesBaez,Aldemaro Repertoire ofcomposersintheAfro-Venezuelan credits,32 hours lab Afro-Venezuelan JazzEnsemble PRF231 Santos amongothers. Hernandez, Pedro Flores, TitoPuenteandJohn including ChuchoValdés, Rafael,RenéandOscar Repertoire ofcomposersintheLatinjazztradition credits,32 hours lab Latin JazzEnsemble LATIN AMERICAN ENSEMBLES PRF 030 SERIES—
PRF250 Instruction Rateappliestothiscourse(seep.10). on bass;andonedrums.Note:TheTrio two studentsandonefaculty:onpiano; Horta andMarcos Silvaamongothers.Opento tradition includingAntônioCarlosJobim,Toninho Repertoire ofcomposersintheBrazilianjazz credits,11 hour lab Brazilian JazzPianoTrio PRF346A Horta andMarcos Silvaamongothers. tradition includingAntônioCarlosJobim,Toninho Repertoire ofcomposersintheBrazilianjazz credits,32 hours lab Brazilian JazzEnsemble PRF240 others. Tower ofPowerandTheHeadhunters among including SlyandtheFamilyStone,ColdBlood, Repertoire ofcomposersinthefunktradition 2 credits, 3hourslab East BayFunkEnsemble PRF261 the 1940stopresent. Repertoire inthebluesand R&Btraditionfrom credits,2Req /Elective—2 hours lab Blues andR&BEnsemble PRF260 Khan amongothers. composers includingAliAkbarKhanandAlam Repertoire intheNorthIndian musictraditionby credits,32 hours lab Traditional NorthIndianEnsemble PRF 050SERIES—INDIANENSEMBLES PRF 040SERIES—BRAZILIANENSEMBLES AND REGGAEENSEMBLES PRF 060SERIES—BLUES, R&B,FUNK
1 alto,tenorandbaritonesaxophone. bebop periodsandbeyond.Opento1soprano, Repertoire ofcomposersfrom theBaroque to 2 credits, 3hourslab Saxophone Quartet PRF290 electric bass,dobro andvocals. guitar, mandolin, fiddle, banjo,acousticor Bela Fleck.Opentoacoustic to Monroe Bill and contemporarybluegrasstraditionfrom Repertoire ofcomposers in thetraditional 2 credits, 3hourslab Bluegrass Ensemble PRF280 to thepresent. The repertoire ofStingfrom ‘ThePolice’ credits,22 hours lab Sting Ensemble PRF370 to allinstrumentalistsandvocalists. Robbie, andRootsRadicsamongothers.Open Upsetters, BobMarleyandtheWailers, Slyand and ReggaetraditionincludingtheSkatalites, Repertoire ofcomposersintheSka,Rocksteady, credits,2Req /Elective—2 hours lab Ska andReggaeEnsemble PRF262 WESTERN EUROPEANENSEMBLES PRF 090SERIES— AMERICAN ROOTS ENSEMBLES PRF 080SERIES— PRF 070 SERIES—POPENSEMBLES
concurrent enrollment. Prerequisites: MUS110AandTHE100Aor over thisfour-year course. expected todeveloparepertoire of80songs to vocalistsandinstrumentalists.Studentsare 100 songsoverthisfour-year course.Open Students are expectedtodeveloparepertoire of phrasing aswellcultivatingapersonalstyle. stage presence, improvisation, vocaltechnique, rhythm section,singersfocusoninterpretation, Accompaniedbyapianistand/or arrangements. material, writelyricsandcreate theirown and free music.Studentscomposeoriginal bebop, modal,world,contemporarypopular, styles from theGreat AmericanSongbookto An eight-semestercoursecoveringarangeof 3 credits, Vocal Performance 410A and410B PRF110A, 110B,210A,210B,310A,310B, VOCAL PERFORMANCE at theCJC.” to studywithartistsofhiscaliber his students.Whataprivilegeitis spirit; heempowersandinspires Caribbean musicandagenerous encyclopedic knowledgeofAfro- a dynamiceducatorwithan — Andrea Claburn,CJCStudent I in hisfield,JohnSantosis an additiontobeingalegend 3 hourslecture /lab 43 california jazz conservatory 2015 – 2016 cjc.edu course descriptions 44 california jazz conservatory 2015 – 2016 cjc.edu course descriptions Tools First)installedforuseinclass. Pro Tools software (version9orhigher, orPro own orhaveaccesstoalaptopcomputerwith the courseofa15-weeksemester. Studentsmust effects. Studentscomplete severalprojects over audio editing,usingMIDI,mixing,and ProTools software. Topics includerecording audio, editing andmixingtechniquesusingAvid A one-semestercoursefocusingonrecording, 3 credits, 3hourslecture/lab and MixingTechniques Digital Recording, Editing TEC400 higher) installedforuseinclass. computer withSibeliussoftware (version6or Students mustownorhaveaccesstoalaptop prerequisite forBasicRecording Techniques. Introduction toMusicTechnology servesasa with developingskillsinbasicmusicianship. covers software andweb-based servicesthatassist simple recording andproduction. Thiscoursealso sequencing, sampling,scoring/musicnotation, An introduction tosoftware toolsavailablefor 2 credits, 2hourslecture/lab Introduction toMusicTechnology TEC100 stylistically relevant ensemblesound. parts, sightreading, intonationandcreating a arrangements. Emphasisonsingingcloseharmony the SingersUnlimitedaswelloriginalchartsand groups includingLambert,Hendricks&Rossand Repertoire includeshistoricarrangementsfrom Requirement / Elective—2credits, 2hourslab Vocal JazzEnsemble PRF111A andPRF111B MUSIC TECHNOLOGY BUS400 of musicontheInternet. ing royalty statements and thedistribution and sale pictures, televisionandcommercials, understand- producer agreements, licensingmusicformotion ments, recording contracts,musicpublishing, of agentsandmanagers,liveperformanceagree - relevant tojazzmusicians today, includingtherole contract andcopyrightlawcoverstopics Provides anunderstanding oftheprinciples tices thatare beingdeveloped toaddress them. musicians andjazzlabelsthebusinessprac- industry. Coverscurrent legalissuesfacedbyjazz technology haveshapedtheevolutionof industry andthemannerinwhichlaw An overviewofthevariouslegalissuesinmusic 1 credit, 1hourlecture for JazzMusicians Legal AspectsoftheMusicIndustry BUS301 neers are presented. mance andinteractionwithliverecording engi- ing media.Strategiesforsuccessfulliveperfor destination ofliveshow, loudspeakerorrecord the source through themicrophone toitseventual providing anexplanationofthesignalpathfrom audio systemsandbasicrecording technology An introductory overviewofliveperformance 1 credit, 1hourlecture Audio forLivePerformanceandRecording BUS300 professional musician. publicity practicescriticaltothesuccessof A one-semestercoursefocusingonmarketingand 1 credit, 1hourlecture The Working Musician BUSINESS OFMUSIC - - Berkeley, California. at ZaentzMediaCenter, 2600Tenth Street, This courseisheldoffsite atFantasyStudios Coordinator. ProgramFantasy StudiosInternship Prerequisites: Resumeandconsentof Hospitality • Client • Basic • Proper • Recording • Basic • Signal • Basic • Basic • Internship trainingincludes: professional, multi-room recording facility. practical trainingintheinnerworkingsofa Media Center, acourseproviding supervised In conjunctionwithFantasyStudiosatZaentz days/weeklab Elective —2credits; 2–3 Recording Program StudioInternship REC101 of sixmonthspriortoplannedgraduation. months priortopresentation andaminimum submitted toandapproved byinstructorsix Please note:Workshop proposals mustbe or consentofinstructor. musicians. Prerequisites: senior-year standing their employmentoptionsasprofessional Students gainhands-onteachingskills,expanding Community MusicSchoolWorkshop Series. their choicetothepublicaspartofJazzschool a live,short-termworkshop(2hours)ontopicof on anindividualbasis,studentsdesignandpresent issues related topedagogy. Guidedbyinstructor A coursefocusingonpedagogytechniquesand 1 credit, 1hourlecture Pedagogy Techniques BUS401 RECORDING ARTS placement handling andstorage
studio mixing recording recording
concierge flow
microphone
session maintenance theory
administrative console
session techniques
services
and etiquette
and
theory
patching
design
equipment and
tasks and
and
cleanliness
and
microphone
application
setup
with afacultyadvisor. Students completethisproject inconjunction production, publishingandcopyrightlaws. understanding ofallthelegalissuesrelated to concert, rehearsing thebandandgainingan ing theproduct, marketingandpublicizingthe and mixingthematerial,packagingdistribut- composing andarrangingrepertoire, recording professionally recorded. Studentsfocuson Yoshi’s of originalmaterial/arrangementsattheCJC, Seniors prepare andperformafull-lengthconcert 1 credit Senior Project SEN400 SENIOR PROJECT
or
other
concert
venue.
The
concert
is
45 california jazz conservatory 2015 – 2016 cjc.edu course descriptions 46 california jazz conservatory 2015 – 2016 cjc.edu course descriptions the SocialSciences(12credits) andPhysical and acceptedonacase-by-casebasis.Pleasenote: and QuantitativeReasoning(3credits) isevaluated Arts andHumanities(6credits) andMathematics requirements inEnglishCommunication(6credits), Transfer credit fulfillingCJCGeneralStudies electives from anyfullyaccredited institution. accepts selectGeneralStudiesrequirements/ the CaliforniaJazzConservatory. TheCJCalso A rangeofGeneralStudiescoursesisoffered at ments mustbefulfilledattheCJC. ferable from anotherinstitution.Theserequire Sciences (3credits) requirements are nottrans Area 5. Area 4. Area 3. Area 2. 1. Area credits andisdividedintothefollowingfiveareas: The GeneralStudiesrequirement comprises30 society. invaluable tothejazzprofessional inaglobal perspectives andprovide pointsofreference Courses inGeneralStudiesservetobroaden successfully inthemusicworldandbeyond. communication skillsnecessarytofunction broad-based culturalliteracy, criticalthinkingand professional. CoursesinGeneralStudiespromote the overalldevelopmentofaspiringjazz The GeneralStudiescurriculumisintegralto DEPARTMENT OF GENERAL STUDIES GENERAL OF DEPARTMENT
(Requirement: 6credits) (Requirement: 6credits) (Requirement: 3credits) (Requirement: 3credits) Quantitative Reasoning (Requirement: 12credits) Physical Sciences Mathematics and Social Sciences Arts andHumanities English Communication
ENG102 at theCJC. tives, experiencesandideas.Thiscourseisoffered tools theyneedtoexpress theirpersonalperspec- reviews, manifestoesand revisions togainthe and culture, andwriteanalytical arguments, music about music,theentertainmentindustry, visualart a literaryform.Studentsread exemplaryessays and functionoftheessay(non-fictionprose) as writing andcriticalthinkingthatcoversstructure and grammar, acourseineffective expository Focusing onwritingstyle,sentencestructure 3 credits, 3hourslecture English CompositionRequirement /Elective The Essay ENG100 ENGLISH COMPOSITION and are offered attheCJC: Communication GeneralStudiesrequirements The followingcoursesfulfilltheCJCEnglish Composition and3credits ofEnglishLiterature. English Communication:3credits ofEnglish Students are required totakeatotalof6credits in is offered attheCJC. their choosingorautobiography. Thiscourse students writeabiographyofjazzmusician autobiographies ofjazzmusiciansasmodels, writing “alife.”Usingkeybiographiesand examination ofthestructure andconventionsof research anddocumentationalongwithan as literaryforms.Considerationsincludestrategy, function ofthebiographyandautobiography A writingintensivethatcoversstructure and 3 credits, 3hourslecture English CompositionRequirement /Elective The BiographyandAutobiography (Requirement: 6credits) AREA 1.ENGLISHCOMMUNICATION
permitting. Thiscourseisoffered attheCJC. live performanceofonetheplays,schedule poetry, characterandperformanceattend a seminar format,studentsconsiderproblems of status todayasaseriousartform.Working in found inbrothels, barsand dancehalls,toits of jazzasearlytwentiethcenturyentertainment as preeminent dramaisanalogous totheevolution raw commercial entertainment toitsstatustoday present. Theshiftfrom Shakespeare’s theatre as historical context—from theRenaissanceto the Sonnets,andKingLearwithanemphasison plays andpoetrysuchasTwelfth Night,Othello, A courseexaminingthree selectedShakespeare 3 credits, 3hourslecture English Literature Requirement /Elective From PlaystoWorks Introduction toShakespeare: ENG110 This courseisoffered attheCJC. musical contextare emphasized andexplored. readings andanalysis,as well ashistoricaland Reed, BillyCollins,QuincyTroupe, etal.Indepth Al Langston Hughes,JackKerouac, MichaelMcClure, through thevoicesofBessieSmith,WillieDixon, sive rangeofpoeticandjazzaestheticsisstudied nurtured bythemusicanditsplayers.Thisexten- “NOW,” jazzpoetryhasrhythmicandlyricalstyles and theBeats,modernpostmodern, Renaissance, pre- andpost-World War II,bebop and blues,continuingthrough theHarlem Beginning withthelyricsofworksongs,gospel 3 credits, 3hourslecture English Literature Requirement /Elective Poetry ofJazz;Jazz ENG105 ENGLISH LITERATURE
Young,
Michael
S. — Professor AnthonyBrown, Ph.D. I why Iprefer teachingattheCJCasopposed toanywhere else. efforts inmyclassroom and beyond.Infact,they, thestudentsare immensely rewarding artform, andIappreciate their earnest want tobecomecompetentperformersin achallengingbut
Harper, engaged andtakethesubjectmaterialseriously. Theymostly truly enjoyteachingattheCJCbecause studentsare
Jayne
Cortez,
Ishmael
ENGL 85BLiterature inEnglish: Late17ththrough ENGL 85ALiterature inEnglish through Milton ENGL 50MulticulturalAmericanLiterature class-schedules-and-catalogs/. berkeleycitycollege.edu/wp/programs/ descriptions andclassschedules,pleasevisit by-case basis.ForBerkeleyCityCollegecourse courses ofinterest maybe approved onacase- Berkeley CityCollege.Pleasenote:Additional ment andhavebeenapproved fortransferfrom CJC EnglishLiterature General Studiesrequire- The followingsuggestedcoursesalsofulfillthe ENGL 100CollegeCompositionandReading ENGL 5CriticalThinkinginReadingandWriting ENGL 1A,1BCompositionandReading class-schedules-and-catalogs/. berkeleycitycollege.edu/wp/programs/ descriptions andclassschedules,pleasevisit case basis.ForBerkeleyCityCollegecourse courses ofinterest maybeapproved onacase-by- Berkeley CityCollege.Pleasenote:Additional ment andhavebeenapproved fortransferfrom CJC EnglishCompositionGeneralStudiesrequire- The followingsuggestedcoursesalsofulfillthe BERKELEY CITYCOLLEGECOURSES HISTORY
Mid 19thCentury(4credits) (4 credits) (3 credits) (3 credits) (3 credits) (4 credits) CJC Faculty
47
Critical
Thinking
in
History
(3
credits)
47 california jazz conservatory 2015 – 2016 cjc.edu course descriptions 48 california jazz conservatory 2015 – 2016 cjc.edu course descriptions artistic pursuits.Thiscourseisoffered attheCJC. commerce andpersonalmotivationsbehindtheir including therelationship betweenartand question theirownexpectationsregarding jazz, modernism andpostmodernphilosophy. Students and improvisation, andtherelationship ofjazzto covered includeahistory oftheconceptmusic music aestheticsfrom Plato toAdorno.Topics profound questionswhile reviewing thehistoryof and Music”servesasaguideinaddressing these within thejazzidiom?AndyHamilton’s “Aesthetics of art?Howdoyouformyourartisticmessage What isthemeaningofjazz?purpose 3 credits, 3hourslecture Requirement/Elective Philosophy ofJazz HUM305 work. Thiscourseisoffered attheCJC. patterns tounderstandandexplainhowlanguages skills neededtodrawgeneralizationsandfind linguistic analysisandanalyticalreasoning, andthe languages. Studentslearnthebasicprinciplesof sociology, withawiderangeofdatafrom diverse nomena, languageacquisition,pragmaticsand historical change,creolization andcontactphe- phonology, morphology, syntaxandsemantics, introduction tocore areas suchasphoneticsand A generalsurveyofthefieldlinguisticsand 3 credits, 3hourslecture Requirement/Elective Introduction toLinguistics HUM200 requirements andare offered attheCJC: the CJCArtsandHumanitiesGeneralStudies of ArtsandHumanities.Thefollowingcoursesfulfill Students are required totake6credits inthearea (Requirement: 6credits) AREA 2.ARTS ANDHUMANITIES
WS 35FeministPhilosophy(3credits) SPAN 1A,1BElementarySpanish(5credits) PORT 1A,1BElementaryPortuguese(5credits) PHIL 46PhilosophyoftheHumanExperience PHIL 10Logic(3credits) PHIL 1Introduction toPhilosophy (3credits) HUMAN 46PhilosophyoftheHumanExperience HUMAN 40ReligionsoftheWorld (3credits) HUMAN 30A,30BHumanValues/Ethics HUMAN 26GlobalCinema(4credits) HUMAN 21Film:ArtandCommunication HIST 33HistoryofNativeAmericanThoughtand FREN 1A,1BElementaryFrench (5credits) COMM 5PersuasionandCriticalThinking AFRAM 44BAfrican-AmericanCulture Today: ART 4HistoryofModernArt(3credits) ART1 Introduction toArtHistory(3credits) class-schedules-and-catalogs/. visit berkeleycitycollege.edu/wp/programs/ course descriptionsandclassschedules,please a case-by-casebasis.ForBerkeleyCityCollege Additional coursesofinterest maybeapproved on transfer from BerkeleyCityCollege.Pleasenote: ments/electives andhavebeenapproved for CJC ArtsandHumanitiesGeneralStudiesrequire- The followingsuggestedcoursesalsofulfillthe BERKELEY CITYCOLLEGECOURSES (3 credits) (3 credits) (4 credits) (3 credits) Literature (3credits) (3 credits) (3 credits) African-American Music/Art/Thought
recordings and theinventionofradiosound and theGreat BlackMigration,World War I, bellum segregation, theindustrialboom of Americansocialforces includingpost- jazz isstudiedwithinthehistoricalcontext and secularmusic.Thedevelopmentof ragtime andotherAfricanAmericansacred of jazz,anditsoriginsinspirituals,blues, cultural conventionsthatformthefoundation African conceptualapproaches, practices,and jazz by1917.ThecoursefocusesontheWest Orleans thatbecameknowntotheworldas of jazzpre-1900, andonthe earlymusicofNew European musicandculture onthedevelopment African, Caribbean,SouthAmerican,Asianand This courseexaminestheinfluencesof West 3 credits, 3hourslecture and EarlyJazz,Pre-1900 – 1919 Jazz History—TheRootsof HIS100A ing theidealsoffreedom anddemocracy. globally celebratedasaculturalartformembody- century urbandancemusicthathasbecome gain asolidunderstandingofjazz,twentieth- sive listening,reading and discussion,students performed internationallytoday. Through exten- Europe andtheNewWorld, tothemusicthat is in themusicalcultures ofWest Africa,Western cultural developmentofjazz,from itsantecedents A four-semester courseexaminingthemusicaland Jazz History ment mustbefulfilledattheCJC. transferable from anotherinstitution.Thisrequire- Social SciencesGeneralStudiesrequirement isnot ment andisoffered attheJCJC.Pleasenote:The the CJCSocialSciencesGeneralStudiesrequire- the area ofSocialSciences.HIS100A–200Bfulfills Students are required totake12credits in (Requirement: 12credits) AREA 3.SOCIALSCIENCES
Prerequisite: HIS100A other socioeconomicandculturaltouchstones. and theGreat AmericanSongbook,among motion pictures, Americanmusicaltheater ballrooms andbigbands,theriseofsound economic boom,theGreat Depression, within thecontextsofpost-World War I Charlie Parkerandmanyothersisstudied music ofLouisArmstrong, DukeEllington, War IImodernjazzjamsessionsinHarlem.The swing bandsandthejitterbug,topre-World of theProhibition era,through thereign ofthe A surveyofearlyjazzstyles,from theJazzAge 3 credits, 3hourslecture in Americafrom 1920 – 1939 Jazz History—StyleandCulture HIS100B 49 california jazz conservatory 2015 – 2016 cjc.edu course descriptions 50 california jazz conservatory 2015 – 2016 cjc.edu 50 california jazz conservatory 2015 – 2016 course descriptions Prerequisite: HIS100B historical epochsupontheevolutionofjazz. burgeoning CivilRightsMovement andother the hegemonyoftelevision,advertising, of World War II,theAtomicAgeandColdWar, draw connectionsbetweenthemid-centuryimpact rhythmic creativity, andfolkinfluences.Students on instrumentalgrouping, structural,harmonicand many oftheircollaboratorsare examined,focusing Silver’s JazzMessengers,OrnetteColemanand Modern JazzQuartet,ArtBlakey’s andHorace Thelonious Monk,MilesDavis,MaxRoach,the and otherstylescreated byDizzyGillespie, ing bebop,hard bop,funk,Latinjazz,cool through thebeginningsoffree jazz.Stylesinclud- focus onthemusicalinnovationsofmodernjazz This courseexplores jazzasanartform,witha 3 credits, 3hourslecture in Americafrom 1940 – 1959 Jazz History—StyleandCulture HIS200A Prerequisite: HIS200A forms andinstrumentsintothejazzworld. infuse adiverserangeofcompositionalstyles, from Africa,Asia,andtheNewWorld continues to ences from traditionalandcontemporarymusicians dance origins.Thesteadyinfluxofglobalinflu- Chick Corea, etal,andthereturn ofjazztoits collaborators, HerbieHancock,Weather Report, electronic fusionmusicofMilesDavisandhis ideas ofWyntonMarsalisjuxtaposedwiththe New evolution offree jazzwiththeAACM,1970s subgenres ofpost-Coltranejazz,particularlythe This coursesurveystherangeofidiomsand 3 credits, 3hourslecture in Americafrom 1960 – Present Jazz History—StyleandCulture HIS200B
York
Loft
Scene,
jazz
in
Europe,
the
music
and
BUS202 BusinessMathematics(3credits) BUS 53SmallBusinessManagement(3credits) BUS 20GeneralAccounting(3credits) BUS 10Introduction toBusiness (3credits) class-schedules-and-catalogs/. visit berkeleycitycollege.edu/wp/programs/ course descriptionsandclassschedules,please a case-by-casebasis.ForBerkeleyCityCollege Additional coursesofinterest maybeapproved on transfer from BerkeleyCity College.Pleasenote: Studies requirement andhavebeenapproved for Mathematics andQuantitativeReasoningGeneral The followingsuggestedcoursesalsofulfillCJC’s BERKELEY CITYCOLLEGECOURSES at theCJC. industry-related ventures. Thiscourseisoffered foundation applicabletoawiderangeofmusic This courseprovides studentswithasolidfinancial profitability, financialplanning,andtaximplication. financial statementanalysis,costingprojects and learning, studentsgainanunderstandingof industry. Usingasystematicapproach to skills criticaltoasuccessfulcareer inthemusic professional musicianwithentrepreneurial A coursedesignedtoprovide theaspiring 3 credits, 3hourslecture Entrepreneurial SkillsforMusicians MAT300 (Requirement: 3credits) QUANTITATIVE REASONING AREA 4.MATHEMATICS AND
complex phenomena. primarily onaconceptualunderstandingof rating somebasicmathematics,thiscoursefocuses ence andsensibilitiesasmusicians.Whileincorpo- toward expandingandbuilding ontheirexperi- music from ascientificperspective, studentswork music technology. Through anunderstandingof acoustics; pitch,tuningandtemperament; production andtimbre; acousticsandpsycho- design. Topics include:waveproperties; sound experience itasmusicandreshape itthrough propagate, tothehuman earandbrainthat object andthespacethrough whichitswaves music —from theenergy thatexcitesthevibrating An explorationofthemechanicsandperception of 3 credits, 3hourslecture/lab Physics ofSoundandMusic SCI300 requirement mustbefulfilledattheCJC. is nottransferablefrom anotherinstitution.This Physical SciencesGeneralStudiesrequirement and isoffered attheCJC.Pleasenote:The Physical SciencesGeneralStudiesrequirements area ofPhysicalSciences.SCI300fulfillstheCJC Students are required totake3credits inthe (Requirement: 3credits) AREA 5.PHYSICALSCIENCES — Professor JohnGove,MM I as itishearingahead. t’s notsomuchthinkingahead CJC Faculty
51 california jazz conservatory 2015 – 2016 cjc.edu course descriptions california jazz conservatory 2015 – 2016 CJC FACULTY MICHAEL ZILBER,
CJC FACULTY MICHAEL ZILBER,
of timebynon-resident faculty. week taughtforadeterminateperiod minate numberofclassroom hours/ Acourseloadofadeter Visiting: consistent basisbyresident faculty. load ofappliedlessonstaughtona Instructor: Anindeterminatecourse intermittent basisbyresident faculty. classroom hours /weektaughtonan Adjunct: Acourseloadoflessthan12 resident faculty. week taughtonaconsistentbasisby 18 privatestudioinstructionhours/ to up and 12 classroom hours week / Part-time: Acourseloadoflessthan resident faculty. week taughtonaconsistentbasisby to 18privatestudioinstructionhours/ room hours/weekandaloadofup Full-time: Acourseloadof12class- Faculty Classifications teach onoccasion. performers and/oracademicianswho nationally orInternationallyrenowned Professor:Visiting Non-resident, give appliedlessonsonaregular basis. academicians inthefieldofjazzwho Widely recognized performersand/or or demonstratingtheequivalent. the minimum of a Bachelor’s degree Instructor: Residentfacultyholding field ofjazzwhoteachonoccasion. performers and/oracademiciansinthe the equivalent.Widelyrecognized Master’s degree ordemonstrating faculty holdingtheminimumofa Adjunct Professor: Resident teach onaregular basis. academicians inthefieldofjazzwho Widely recognized performersand/or or demonstratingtheequivalent. faculty holdingaMaster’s degree Associate Professor: Resident basis. field ofjazzwhoteachona regular performers and/oracademiciansinthe the equivalent.Widelyrecognized holding aPh.D.ordemonstrating Full Professor: Residentfaculty Faculty Rankings FACULTY - Francisco Symphonyamongothers. Francisco SaxophoneQuartetandSan classical saxophoneplayingwiththeSan educator for42years;specializingin 1979. Professional musicianandmusic State, 1982;B.A.inMusic,UCBerkeley, M.M inPerformance,SanFrancisco (Associate Professor, part-time) William R.Aron /Woodwinds laurieantonioli.com. Music. StudiedwithVincent Pinzerella Performance, ManhattanSchoolof USC andtheMonkInstitute;BMin CJC Visiting Professor. MAinMusic, Professor,(Visiting onoccasion) Ambrose Akinmusire /Trumpet “best of”2014inDownbeatMagazine. Joni Mitchell,onOriginRecords. Voted Shadow, SongsofLight”—Themusic Dreams Band.Released“Songsof Foreign Affair BandandTheAmerican Jordan,Mark Murphy;bandleaderof Pony Poindexter, JoeHenderson,Sheila Cables, BobbyMcFerrin,RichieBeirach, Performed and/orrecorded withGeorge vocal intensivewithTheoBleckmann. CJC Vocal Program; Co-teachesyearly adjudicator, curriculumdevelopmentfor of IntrinsicMusicRecords Co.Clinician, Japan, OriginRecords, USAandowner Records, recording artistwithreleases onNabel Austria; Internationalperformingand Vocal JazzStudies,KUGU.,Graz, Henderson, MarkMurphy;Professor, State LongBeach.StudentofJoe Studied atMt.HoodCollegeandCal (Full Professor, full-time) Chair, Vocal Jazz Studies Laurie Antonioli/Voice; Shorter. ambroseakinmusire.com. Roney, HerbieHancockandWayne Carrington, RonCarter, andWallace Moran, HalCrook, BobHurst,Terri Lynne Jazz Collective,JimmyHeath,Jason the MingusBigBand,SanFrancisco Josh Roseman,Vijay Iyer, CharliePersip, Coleman, BillyHiggins,StefonHarris, Henderson, JoshuaRedman,Steve ing artist/clinician.PerformedwithJoe International performingandrecord- Monk InternationalJazzCompetition. Solo Competitionand2007Thelonious Caruso InternationalJazzTrumpet Winner ofboththe2007Carmine Blanchard, BillyChildsandGaryGrant. Oatts, LewSoloff, LaurieFrink,Terence from
the
New Germany;
York
Philharmonic, Yamaha
Records,
Dick
David Belove / Bass David Belove/Bass Colombia. dougbeavers.com Universidad Sergio Arboleda,Bogotá, Medanos College.Annualresidency at Stanford University, CSUEastBayandLos and others.Clinician/masterclasses at Mingus BigBand,RosemaryClooney, Legends, PaulSimon,RubenBlades, Tipica ’73,Africando,TheMambo Palmieri, SpanishHarlemOrchestra, arranged, and/orrecorded withEddie Urban Founding Director, HarlemSchoolof Here); four-time Grammynominee; award-winner (EddiePalmieriListen State University, Hayward, 2000.Grammy of Music,2002;BAinCalifornia MA inComposition,ManhattanSchool (Adjunct Professor) Doug Beavers/Trombone, Composition leader, JoeBagaleBand. Symphony Orchestra; Mafia Jazz the Orchestra, DisappearIncompletely, and including HotEinstein,Realistic full timememberofBayArea bands played withFred Wesley (JamesBrown); Carter, DarmonMeader, ScottAmendola; Gadd, BenMonder, ClayJenkins,Ron studied withRichThompson,Steve Rhythm SectionPlayerbyWyntonMarsalis; Recorders, SF;awarded Outstanding Record producer; Manager, Coast Eastman SchoolofMusic(11/2yrs.). (Associate Professor, part-time) Joe Bagale/MusicTechnology worldwide. theobleckmann.com. and inworkshopsmasterclasses Queens College.Teaches voiceprivately York of Music.Previously onfacultyatNew Currently onfacultyatManhattanSchool Company andMarkMorrisDance Group. Radio Choir, Merce CunninghamDance San FranciscoSymphonyChorus,Estonian Featured soloistwiththeAlbanySymphony, John ZornandtheBangOnACanAll-Stars. Meredith Monk,MichaelTilsonThomas, Coleman, DaveDouglas,PhilipGlass, Anderson, AnthonyBraxton,Steve artist andeducator. PerformedwithLaurie international performingandrecording CJC Visiting Professor. Nationaland Professor,(Visiting onoccasion) Theo Bleckmann/Voice Larry CoryellandZakirHussain. Eddie Harris,MarkLevine,PatMetheny, Henderson, MaxRoach,BlueMitchell, Mauleon, RayObiedo,Marcos Silva,Joe Puente, Francisco Machete Ensemble,DaniloPerez, Tito Pete Escovedo,JohnSantosandThe Recorded and/orperformed San FranciscoConservatoryofMusic. Studied atSanFranciscoStateand (Associate Professor, part-time)
University,
Music,
New
The
Aguabella, Rebeca
York.
New
Performed,
School
with
and
53 california jazz conservatory 2015 – 2016 cjc.edu faculty 54 california jazz conservatory 2015 – 2016 cjc.edu faculty PlazaCuba. johncalloway.com. Jazz CampWest; program coordinator, U.; clinician,Stanford JazzWorkshop and Omar Sosa;faculty, SanFranciscoState rations withJohnSantos,JesusDiazand include Diaspora,TheCodeandcollabo- Mauleon andWayne Wallace. Recordings John Santos,QuiqueCruz,Rebeca Gillespie, PeteEscovedo,JesusDiaz, Lopez, MaxRoach,OmarSosa,Dizzy and LatinAmericawithIsrael“Cachao” throughout theUnitedStates,Europe in jazzandLatinmusicstyles;performed instrumentalist, composerandarranger City San FranciscoStateU.;BAinMusic, progress); MAinMusicEducation, Education, U.ofSanFrancisco(in PhD inInternationalandMulti-Cultural Professor,(Visiting onoccasion) John Calloway/Flute,Piano anthonybrown.org. Asian AmericanOrchestra. Music, andtheinternationallyacclaimed currently ArtisticDirector ofFifthStream at theSmithsonianInstitution.Heis Director oftheJazzOralHistoryProgram Curator ofAmericanMusicalCulture and The Exploratorium,andpreviously was Berkeley, anadvisorandconsultantfor as aVisiting Professor ofMusicatUC from RutgersUniversity. Hehasserved of Musicdegree injazzperformance cology) from UCBerkeley, andaMaster M.A. andPh.D.inmusic(ethnomusi Francisco Symphony. Brown holdsan Murray, AnthonyDavisandtheSan Taylor, ZakirHussain,SteveLacy, David has collaboratedwithMaxRoach,Cecil GRAMMY Lee Brenkman /Recording, Sound Smithsonian AssociateScholar, and cologist, GuggenheimandFord Fellow, Composer, percussionist, ethnomusi- (Full Professor, part-time) Ethnomusicology Anthony Brown /Drums/Percussion, Hawes, CarmenMcRae. Puente, Woody Herman,Hampton ings byEdBlackwell,BettyCarter, Tito Orchestra, Oregon; engineered record Morrison, AstorPiazzolla,DukeEllington Basie Orchestra, SarahVaughan, Van Evans Trio, StephaneGrappelli,Count SRO Band;mixedliveshowsforBill Stanford JazzWorkshop, DickBright’s technician, Great AmericanMusicHall, Family DogProductions; headsound Sound engineer, Avalon Ballroom, Sound systemoperation,design. (Associate Professor, part-time)
University
nominee.
of
New
Dr.
York.
Anthony
Multi-
Brown
-
bandleader, performingartist,recording tor/mentor forJazzschoolconcertseries; ings; producer, 25concertsandinstruc- coaching, 30years;producer, 10record faculty, Jazzschoolsince2002,private faculty, BlueBearSchoolofMusic; Barbara. Maye Cavallaro /Voice Danny Caron /Guitar Oaktown andCazadero jazzworkshops. and ensembleinstructorattheStanford, specials. Clinician,lecturer injazzhistory, CNN ShowbizToday andnumerous PBS addition totelevisedperformancesfor Stanford, andRochesterjazzfestivalsin Monterey, SanFrancisco,Vienne, BigSur, States includingappearancesatthe throughout Asia,Europe andtheUnited Teddy Edwards. Toured extensively Gene Bertoncini,JoshuaRedman,and Faddis, David“Fathead”Newman, Benny Golson,EddieMarshall,John or performedwithBobbyHutcherson, Conservatory ofMusic.Recorded and/ BFA inJazzStudiesfrom theOberlin (Instructor, part-time) Matt Clark/PianoAccompanist designer. mzjazz.com. clinician, St.John’s U.;graphicartist,web by theSanFranciscoChronicle; visiting artist; Barbara; B.A.inEnglishLit,UCSanta Advanced degree inEducation,UCSanta (Associate Professor) in 1997. Jazz Conservatorysinceitsinception Hooker. FacultymemberoftheCalifornia Back”, withVan MorrisonandJohnLee King CliftonChenier, and“Don’t Look winning records, “I’mHere” withZydeco Edwards. Guitariston2GrammyAward- Raitt, DrJohn,JohnClaytonandTeddy legends includingVan Morrisson,Bonnie Brown foroveradecade.Performedwith director andguitaristforthelateCharles touring andrecording artist;music Martino amongothers.International with JoeDiorio,RonEscheteandPat Guitar Institute,LosAngeles.Studied College; graduateofHoward Roberts’ BA inEnglishandMusic,Oberlin (Adjunct Professor, part-time)
awarded
Fellow
Best
NY
Cabaret
of
the
Year
Symposium;
in
Jazz
-
in deep house,andexperimentalensembles several jazz,Afro-Cuban, hip-hop,soul, University with honorsatHunterCollege,City before earningaBAandMAinmusic of MusicandArtPerformingArts the Fiorello H.LaGuardia HighSchool Carnegie Hall,Kwamigraduatedfrom of ageonpianoinasmallstudioat he beganhisformalstudiesatfouryears Born Professor,(Visiting onoccasion) Piano, Percussion Kwami Coleman/Musicology; anndyer.com. Dance andPsychology, MillsCollege. Dhanshree Pandit,MarkMurphy. BAin Pandit Mukesh,Desai,ShwetaJhaveri, Premonition Records. Studieswith Time Fairies.”Recordings, Sunnyside, instructor. Leader, “AnnDyer&NoGood performing andrecording artist,yoga Vocalist, lyricist,composer, international (Adjunct Professor, part-time) Ann Dyer/Yoga Village Vanguard. jeffdenson.com. Festival, TheKennedyCenterandthe Festival ParisandtheMontreal Jazz Berlin JazzFestival,theJVC Konitz. Selectperformancesinclude: Alessi, CharlesMcPhersonandLee Puntin, LionelLoueke,DanWeiss, Ralph Mark Dresser, Geoffrey Keezer, Claudio Carl Allen,KennyWerner, AnthonyDavis, performed withBobMoses,JoeLovano, national performingandrecording artist; Konitz NewQuartet.Nationalandinter ing artistwithMinsarahandtheLee College ofMusic.EnjaRecords record- BM inPerformanceCumLaude,Berklee Cum Laude,FloridaStateUniversity; San Diego;MMinJazzStudiesMagna Composition, UniversityofCalifornia Performance withanemphasisin DMA inContemporaryMusic (Full Professor, full-time) Jeff Denson/DoubleBass throughout theSanFranciscoBayArea. the Word, CJC;performerandreader Florio Street Concerts;producer, Jazzand Groove ofJazz”,JCMS;co-producer, in AdultEducation;teacher,” Literary ative writing,BerkeleyAdultSchool;tutor Berkeley; teachesEnglish,poetry, cre- Bread LoafSchoolofEnglish&UC Graduate Studies,PoetryandDrama, BA inLiterature, St.Lawrence University; (Adjunct Professor, part-time) George W. Davis/PoetryLiterature boards, andpercussion intheBayArea. Francisco andperformsonpiano,key- 1964 quintet.Hecurrently livesinSan he iswritingadissertationonMilesDavis’ musicology atStanford Universitywhere lege, KwamiisnowaPh.D.candidatein
and
and
around
raised
of
New
New
in
York. New
York
Performing
York City
City, while
where
in
with
col -
- erquiaga.com. from hisCDCafeParadiso. Guitar DuetsandArrangements Jazz Clinics;publications Paradiso; faculty, JameyAebersold McCandless; founder, leader, Trio Paulo Bellinati,AndyNarell, and David Byrne,Turtle IslandStringQuartet, Henderson, Les performed withBobbyMcFerrin,Joe Festival, NorthSeaJazzFestival; Montreux JazzFestival,Berlin and performingartist;performedat National andinternationalrecording (Associate Professor, part-time) Steve Erquiaga /Guitar Angeles. kaizone.com. Musician’s InstituteofTechnology inLos Bruckner Conservatory, Austria;and Boston; occasion atBerkleeCollegeofMusic, Marshall, andStanleyClarke.Facultyon Zakir Hussain,George Brooks, Mike Cobham, Fareed Haque,CourtneyPine, Randy Brecker, JohnMcLaughlin,Billy Vital Information,AlphonseMouzon, educator; performedwithSteveSmith’s ing andrecording artist,composerand Music. Internationallyacclaimedperform- BA withhonors,BerkleeCollegeof (Adjunct Professor, part-time) Kai Eckhardt /Bass Keyboard Magazine.tayjazz.com. Magazine, Billboard, Jazziz,JazzTimes, Jazz onNPR;featured inDownBeat featured onMarianMcPartland’s Holloway, RufusReid,AlanBroadbent; Patti Austin,ChristianMcBride,Red Bobby Hutcherson,Frederica Von Stade, Brubeck, Redman; ErnestineAnderson,Dave BET jazzchannel;performedwithJoshua with fivealbumsasaleader;featured on since 1999;leader, Taylor EigstiGroup nominee; faculty, Stanford JazzWorkshop Concord Studied musicatU.ofSouthernCalifornia. Professor,(Visiting onoccasion) Taylor Eigsti/Piano
the
Recording Artist;2007Grammy Diane Schuur, JamesMoody,
Bass
McCann,JohnScofield,
Collective,
E ERQUIAGA V E ST include
NYC;
Piano Piano Paul
Anton
ner. Performedthroughout Europe, Asia, Still), Wes Corbett(JoyKillsSorrow), Erik Greg Liszt(BruceSpringsteen,Crooked Pandolfi (TheInfamousStringdusters), and bluegrasscharts;mentored Chris Good Companytoppedinternationalfolk Banjo Newslettermagazine;2012CDIn NashCamp BanjoCamp;columnistfor University, CarletonCollege;director of of Music,Virginia Commonwealth cian/artist inresidence atBerkleeCollege author of Banjo For Dummies; guest clini Peter Rowan&DryBranchFire Squad; who hasperformedwithDavidGrisman, international performing/recording artist of Virginia, Anthropology (Folklore); Music (Ethnomusicology);BA,University PhD candidate&MA,UCBerkeleyin (Associate Professor, part-time) Bill Evans / Banjo Bill Evans/Banjo mimifoxjazzguitar.com. Marsalis, with CharlieByrd, KennyBurrell, Branford tured artist,KennedyCenter. Performed McPartland’s PianoJazzonNPR;fea- of Music;featured artistonMarian of Oregon, CalArts, CornishCollegeoftheArts,U. Workshop, clinician/artist inresidence atAlaska professor national JazzGuitar Cork, PerthandNorthWales Inter include Montreal, Monterey, Guinness the CaribbeanandAustralia. Magazine ing artistandfive-timeDownBeat International recording/perform- (Associate Professor, part-time) Mimi Fox/Guitar Stone. billevansbanjo.com. Yates
(Hot
David SanchezandDianaKrall.
of
International CriticsPollwin
Buttered
Britt USC andBerkeleyCollege
Jazz
Music
Studies
Rum) Festival. Adjunct
Festival,
at and
NYU;
Festivals
Jayme
Yale
guest
U., Jazz
-
- John Gove/Trombone joegilman.com. Hutcherson, Woody Shaw, ChrisBotti, performed withEddieHarris,Bobby River College,BrubeckInstitute; Studies, IndianaU.Faculty, American School ofMusic;BAinPianoandJazz Jazz andContemporaryMedia,Eastman PhD inEducation,U.ofSarasota;MA professor,(Visiting onoccasion) Joe Gilman/Piano zentlawgroup.com. of theRovaSaxophoneQuartet. of Rova:Arts,thenon-profit organization addition, Mr. Gasconisaboard member Edward Simon,TinHatandCuongVu. In Myra Melford, MickRossi,KendraShank, Francisco, AndyLaster, KateMcGarry, Ehrlich, Wayne Horvitz,HotClubofSan Jim Campilongo,DaveDouglas,Marty present, includesDaveBinney, DonByron, partial listingofhisclients,pastand motion pictures, televisionandvideos.A master recordings foruseincommercials, well asthelicensingofcompositionsand production andrecording agreements as distribution, management,publishing, record labelsinthenegotiationof composers, bandsandindependent arts. Mr. Gasconrepresents artists, music, motionpictures andthevisual particular emphasisindigitalmedia, property lawandlicensing,witha focused intheareas ofintellectual California. Mr. Gascon’s practiceis with theZentLawGroup inSunnyvale, entertainment andtechnologylawyer Northern University. Todd Gasconisan JD UniversityofDayton;B.S.B.A.Ohio (Associate Professor, part-time) Todd M.Gascon/BusinessofMusic on the PerformingArtsandUSIA;recordings Jazz Ambassador, KennedyCenterfor Jazz PianoCompetition; Watts; awarded 2004Great American with Tootie Heath,JoeHenderson, Jeff Marlena Shaw, SlideHampton;recorded (Full Professor, full-time) SFJazz AllStars. MM andBMinJazzComposition
the CountBasieOrchestra andthe Sunnyside andCaprilabels. Performance, EastmanSchoolof formed bysuchartistsasLedisiwith Music; winneroftwoDownbeat have beencommissionedandper awards forcompositionandarrang- Smashmouth. Hisarrangements ing. Director ofJazzStudiesat John, PeterGabriel,HueyLewis, Tony Bennett,DianaKrall,Dr. Laney College.Hasperformed Mingus Dynasty, MariaSchneider, ist withTerence Blanchard, the and/or recorded asatrombon-
International
-
55 california jazz conservatory 2015 – 2016 cjc.edu faculty 56 california jazz conservatory 2015 – 2016 cjc.edu faculty jekabson.tripod.com. College andLosMedanosCollege. label. Currently teachesatBerkeleyCity Intersection onFresh Sound/NewTalent projects. Recorded asoloalbum and hascomposedforfilmdance Mayer, IllinoisJacquet andGalactic, Conservatory ofMusic.Toured withJohn of Music;BMus.inTrumpet, Oberlin MA inComposition,SFConservatory (Associate Professor, part-time) Erik Jekabson/Trumpet Franklin. peterhorvath.com. arranged andrecorded forAretha Maupin, RichieCole,RayObiedo; Symphony, BobSheppard, Bennie Henderson, LalahHathaway, Oakland Bailey Group, BobbyHutcherson,Joe Performed, toured, recorded withVictor Hungary; Vienna ConservatoryofMusic. Bartok ConservatoryofMusic,Budapest, MA, BerkleeCollegeofMusic;Bela (Instructor, part-time) Peter Horvath/Piano jazzdrumming.com. Aquarian Accessories. with ZildjianCymbals,Vic FirthSticks, Stuart Hamm;artistendorsement Walker, RebeccaParris,KaiEckhardt, Wilamson, ArtLande,Tom Coster, Kit Paul McCandless,EddieHarris,Bruce author; performedwithErnieWatts, adjunct facultyatUCBerkeley;clinician; professor atBerkleeCollegeofMusic; Advisor, DrumProgram. Formerassistant (Associate Professor, part-time) Alan Hall/Drums bennygreenmusic.com influential JazzEnsemble. days atBerkeleyHigh,intheschool’s remarkable career stretches backtohis Protégé PrizeinMusic(1993),andhis ent oftheGlennGouldInternational drums. BennyGreen wasthefirst recipi- on bassandKennyWashington on Messenger teammate,PeterWashington compositions, andincludeshisJazz self-produced recording ofalloriginal Magic Beans(Sunnyside,2013),ishisfirst other labels.Hismostrecent release, with others,forBlueNote,Telarc and dozens ofrecordings, asaleaderand his owntrioin1991,andhasproduced Malone, tonameonlyafew. Heformed Etta Jones,MiltJackson,andRussell ings withthemandOscarPeterson, He hasappeared onhundreds ofrecord Carter, Freddie Hubbard andRayBrown. side manwithsuchnotablesasBetty Messengers, BennyGreen servedasstar A memberofArtBlakey’s famedJazz professor,(Visiting onoccasion) Benny Green /Piano
- (Associate Professor, part-time) Laura Klein/AlexanderTechnique journey, aswellhisfather’s. which tellsthestoryofhismusical recently inthefilm“PlayLikeaLion,” Amplive andJanakaSelekta.Hewas legend Elighandelectronic musicians Homayoun Sakhi,underground hip-hop Rob Wasserman, ChristopherHedge, Derek Trucks, SusanTedeschi, BobWeir, of artistsfrom different genres suchas Anindo Chatterjee,andwithawidearray Swapan Chaudhuri,ZakirHussainand has performedwithIndia’s tablamasters a newgenerationofsarode players.He Akbar Khan’s trueheirandthefaceof leader andhasestablishedhimselfasAli worldwide bothasanaccompanistand ship ofhasfather, Khanhastoured Senia Gharanaandunderthementor College ofMusic.Trained attheMaihar tal andvocalclassesattheAliAkbar Khan. Instructorofadvancedinstrumen- the legendarysarode maestro AliAkbar International performingartistandsonof (Instructor, part-time) Alam Khan/NorthIndianSarode Extension. Honored Instructor, U.C.Berkeley Extension courses(online)inLiterature. National award-winning UCBerkeley and Literature, UCBerkeleyExtension. Berkeley. InstructorinCreative Writing Shakespeare andRenaissanceDrama,UC and ShortFiction,SFSU.Lecturer in Berkeley. Lecturer in Shakespeare Ph.D. inLiterature (Renaissance),UC (Full Professor, part-time) Chair, DepartmentofGeneralStudies Mary AnnKoory/Literature; lauraklein.net. co-leader ofFivePlayJazzQuintet. nist/composer; five recordings; currently Berklee PrivateStudies.Activejazzpia- Community MusicCenterandpianoat Taught pianoandjazzensembles atSF Technique inBerkeleysince 1987. Private practiceteachingtheAlexander (Teacher Training Course),2001-08. Area CenterfortheAlexanderTechnique Department 150Program. Faculty, Bay Alexander Technique, UC BerkeleyMusic Technique, AmSAT, STAT. Instructorof Technique, Centerforthe Alexander Certified Teacher ofthe Alexander Studies atBerkleeCollegeofMusic. BA
in
Music,
SUNY
Buffalo.
Jazz
-
Jay W. Lehmann/Trumpet Jan Garbarek andmanyothers. Jordan, MarkIsham,PaulMcCandless, Charlie Haden,KennyWheeler, Sheila Bobby Hutcherson,SteveSwallow, with JoeHenderson,Woody Shaw, drummer andeducator. Hasperformed internationally knownpianist,composer, Grammy-nominated recording artist, Professor,(Visiting onoccasion) Art Lande/Piano kitka.org. and UnusualMusicSeries. Players andintheSFSymphony’s New also ComposersInc.,LeftCoastChamber ber, Illinois Philharmonic.Asafoundingmem- Civic Orchestra ofChicagoandthe Symphony, CaliforniaSymphony, the Performed asaflutistwiththeBerkeley Khalife; andonPrairieHomeCompanion. and theCulturalHeritageChoir;Marcel Mystère desVoix Bulgares; LindaTillery Berkeley. PerformedwithA.C.T.; Le Awarded aHertzFellowshipfrom UC singer MarianaSadovska,andothers. Kremena Stancheva,andUkrainian Bulgarian singersTzvetankaVarimezova, Women’s Vocal Ensemble.Trained with Music,1988. MusicDirector, KITKA BM, SanFranciscoConservatoryof (Adjunct Professor, part-time) Janet Kutulas/Voice laney.peralta.edu. ied withJohnCage. and withDonMenza,BillWatrous; stud- performed attheMonterey JazzFestival Director, LaneySummerMusicProgram; Laney CollegeMusicDepartment; Lifetime Teaching Credential; Chairman, Bay; BAinMusic,UCDavis.California MA inTrumpet Performance,CSUEast (Full Professor, full-time)
played
for
15
years
with
EARPLAY;
College, andUCBerkeley. Medanos College,DiabloValley part-time facultymember, Los Marc CaryandGeorge Russell; performed withDr. Lonnie Smith, The “Dynamic”Ms.FayeCarol; has Orchestra, TheMelMartinQuartet, regularly withMarcus ShelbyJazz The NewEnglandConservatory;works BA andMAinJazzPerformancefrom (Associate Professor, part-time) Jeff Marrs/Drums frankmartinproductions.com Faculty, UCBerkeleyJazzEnsembles. Patrice Rushen,Trilok Gurtu,Richard Bona; Airto, DoriCaymmi,DianneReeves, Hancock, StanleyJordan, StevieWonder, Farrell, DizzyGillespie,LarryCoryell,Herbie John McLaughlin,BuddyMontgomery, Joe Patti, Karen Blixt;performed/recorded with Mary Jenson,MollyHolm,Deuce,Tuck & Quartet, JoeyDeFrancesco,MimiFox, arranger forAlJarreau, Turtle IslandString James Taylor, EltonJohn;Record producer/ Carnegie HallappearanceswithSting, Walden, PattiAustin,AngelaBofill; Music Director forNaradaMichael (Adjunct Professor, part-time) Frank Martin/Piano,Keyboards jasonlevismusic.com performance experience. has extensivenationalandinternational both artandpopularmusicsettings is anactiveperformeronthedrumsetin bridging amultitudeofmusicalstyles.He and released overtwo-dozenrecords, posed andarrangedfor, performedin, these avenueshehasproduced, com- Orchestra, andmanymore. Through Ensemble; mostrecently theBerlinBoom Joseph’s Bones;theEchoChamber Couple; Chamber Ensemble;duoB.;Married Germany. TheseincludetheHeftpistole the SanFranciscoBayArea andBerlin, vised music,andchamberensemblesin collaborator innumerous jazz,impro- composer JasonLevishasledandbeena Festival finalist(Berlin),drummerand Instructor (UCBerkeley);Interaktion winner; OutstandingGraduateStudent award recipient; EisnerPrizeforMusic University. Two-time MeettheComposer UC Berkeley;B.A.inMusic,Naropa Ph.D. andM.A.inComposition, (Associate Professor, part-time) Jason Levis/Drums,Composition
DRY;
live
dub-reggae
ensemble
E ANTONIOLI AURI
L
Improv Arts. Kenny Endo,FrancisWong andAsian Ho, DanonganKalanduyan,AkiraTana, and AsianAmericanartistsincludingFred Leo Smith,OmarSosa,andmanyAsian Orchestra, OliverLake,JamesNewton, and AnthonyBrown’s AsianAmerican and MarkIzu’s Circle ofFire, SteveLacy Coleman, JohnHandy, ZakirHussein Hieroglyphics Ensemble,Ornette with DonCherryandPeterApfelbaum’s and educator, Modirzadehhasworked international performing/recording artist cians inMorocco andAndalucia.An work withGnawanandFlamencomusi- and 2006FulbrightSeniorLecturer to and Dance.1989,‘91NEAJazzFellow, Program atSFState’s SchoolofMusic Since 1998,Professor ofWorld Cultures original “chromodal” approach tojazz. PhD, Wesleyan University(1992),forhis (Adjunct Professor, part-time) Hafez Modirzadeh/Theory, Saxophone Educators award-winner. HCSF.com. guitar; InternationalAssociationofJazz recordings andInstructionalDVDSfor (according toPBS)”;producer ofCD ist. “GodfatherofgypsyjazzinAmerica international touringandrecording art- Leader oftheHotClubSanFrancisco; Professor, part-time) Bass(Associate Viola, Banjo, Violin, Paul Mehling/Guitar, Tenor &Plectrum
Susan Muscarella /Piano Church. at St.MichaelandAllAngelsEpiscopal Bradley SchoolofMusic;musicdirector instructor atDiabloValley Collegeand Area; privateinstructionsince1978; 20+ yearsinvenuesthroughout theBay College. BayArea freelance musician, Multimedia Studies,DiabloValley University; CertificateofCompletion, Education-Voice, SanFranciscoState University; BachelorofMusic,Music Master ofMusic.MusicEducation,Boston Voice (AssociateProfessor, part-time) Joyce Pricco/Voice cjc.edu. of Directors, ChamberMusicAmerica. Association; former memberoftheBoard Team” Award from theJazzJournalists Jazz onNPR;recipient ofa2008“A featured onMarianMcPartland’s Piano Berkeley andConcord JazzFestivals; Hall andtheLighthouse,Monterey, Keystone Korner, Great AmericanMusic clubs recording artist;performancesatmajor 1984 –89;composer, arrangerand Director, UCJazzEnsemblesprogram and DeanofInstruction,CJC,Inc. of Évora,Portugal.FoundingPresident PhD candidateinMusicology, University BA inMusicComposition,UCBerkeley. (Full Professor, part-time)
and
festivals
including
Yoshi’s,
57 california jazz conservatory 2015 – 2016 cjc.edu faculty 58 california jazz conservatory 2015 – 2016 cjc.edu faculty internationally, andcollaboratedwith has released fivealbums,performed ensemble Turtle IslandQuartet,which two-time Grammy®-award-winning jazz Music. Performingmemberofthe of MusicandtheBerkleeCollege bands. AttendedTheClevelandInstitute dance bands,stringquartets,andblues A nativeofDetroit, MI.Rootsinsquare (Associate Professor, part-time) Akbar CollegeofMusic. King. Currently onfacultyattheAli and renowned choreographer, Alonzo Grammy Award-winning artistBélaFleck, rated onmajorrecording projects with recorded several solo CDs,andcollabo- Canada, UnitedKingdomandIndia, Performed throughout theUnitedStates, ing ontheSeniAllaudinGharanastyle. maestro UstadAliAkbarKhanfocus- Benares Gharanastyle.Studentofsarod Rama ShankarMishra,specialistinthe disciple ofrenowned vocalistPandit poser. AnativeofAllahabad, India,the Performing artist,educatorandcom- part-time) Rita Sahai/Voice (AdjunctProfessor, UC BerkeleyandChabotCollege. Mickey Roker;faculty, BrubeckInstitute, Hart, LarryWillis,George Colemanand John Hicks,MikeClark,JackWilkins,Billy Connor, Tom Harrell, EddieHenderson, Benny Green, DakotaStaton,Chris Hendricks, DaveLiebman,ChetBaker, performed withBobbyHutcherson,Jon Williams, George MrazandMikeLongo; JCMS BassProgram; studentofBuster College ofMusic(2yrs).Advisor, Mannes SchoolofMusic(1yr);Berklee (Associate Professor, Part-time) Glenn Richman/Bass Residence Grant.jackelinerago.com. Music Project; awarded CACArtistIn MusicDirector,educator; Venezuelan tional performer, composer, arranger, Multi-instrumentalist, nationalandinterna (Adjunct Professor, part-time) Afro-Venezuelan Percussion Jackeline Rago/Cuatro, faculty atWellesley College. Orchestra. Formermemberofthemusic Chorus, andtheNewCenturyChamber Nashville, TheSanFranciscoGirls’ Irish fiddlerLizCarroll, Orchestra Francisco, Providence StringQuartet, HCSF, Turtle IslandQuartet,QuartetSan tionally. Composerandarrangerwith and performednationallyinterna- Francisco, whichhasreleased sixalbums, the gypsyjazzbandTheHotClubofSan and OdairAssad.Performingmemberof Billy Taylor andKennyBarron, andSergio Paquito Evan Price/Violin
D’Rivera,
The
Ying
Quartet,
Dr.
- Murphy. Lectured and/oroffered residen y Guaguancó,JohnFaddis,andMark Armando Peraza,ElConjuntodeClave Lázaro Ros,FranciscoAguabella, Buena Vista SocialClub,Batacumbele, The LatinGiantsofJazz,OmarSosa, Hutcherson, LaloSchifrin,JamesMoody, Roach, McCoyTyner, SteveTurre, Bobby Santana, Cachao,EddiePalmieri,Max with DizzyGillespie,TitoPuente, 1985 –2006;performedand/orrecorded and Director, TheMacheteEnsemble, Multi Grammynominee(5);Founder recording artist,writerandhistorian. Percussionist, producer, composer, (Associate Professor, part-time) John Santos/Percussion jimsantiowen.com. World MusicFestival. the MusicalDirector oftheSanFrancisco and LinesBalletSchooliscurrently Music, theCJC,DominicanUniversity, On facultyattheAliAkbarCollegeof Sekar Jaya,andJaiUttalamongothers. Steve Smith,Chitresh Das,Gamelan Mickey Hart,AlamKhan,George Brooks, Sanders, AlonzoKing,HamzaelDin, Brothers. PerformedwithPharoah drumming anddancefrom theLadzekpo Newton, andTootie Heath,andAfrican Sekar. StudentofCharlieHaden,James Chaudhuri, T.H. SubashChandran,andK. Indian percussion underPanditSwapan MA inWorld Music,CalArts.Trained in (Associate Professor, part-time) Jim SantiOwen/IndianPercussion acclaimed JohnSantosSextet. Camp West, anddirector ofthehighly faculty oftheCollegeSanMateo,Jazz Europe andLatinAmerica.Currently on Brigham U., SFStateHumboldtand Cruz, UCMonterey Bay, SanJoseState UC Berkeley, UCSacramento,Santa U. ofWisconsinatMadison,Dillard U., UCLA, WhittierCollege,MichiganState, cies
at
the
Young
Berklee
U.,
School as
well
of as
Music, throughout
Yale,
-
National ScienceFoundationFellow; MS inComputerScience,Stanford U.; Professor,(Visiting onoccasion) Anton Schwartz/Saxophone pursuancerecords.com. education foryoungmusicians. as partofhismissiontoimprove music special eventsthroughout thecountry and continuestoconductworkshops San actively involvedincommunitiesthe CEO ofPursuanceRecords, heisalso Jazz Festival(CapeTown). Founderand Sea Festival(Israel),andtheNorth The Concertgebow(Germany),Red Hall (SF),TheNewMorning(Paris), Carnegie The BlueNote,Village Vanguard, among others.Hehasperformedat Center JazzOrchestra, IrvinMayfield Abbey Lincoln,SFSymphony, Lincoln George Benson,PhilLesh&Friends, major artistsincludingWyntonMarsalis, has performedandrecorded with drummer andpercussionist JazSawyer Music Program. ASanFrancisconative, BFA, MannesJazz&Contemporary MPA, (Visiting Professor,(Visiting onoccasion) Jaz Sawyer, /Drums,Percussion Marcos Silva andIntersection. Caymmi, EduLobo,Joyce;leader, Dori Caymmi,NanaDanilo D’Rivera, BudShank,Ricardo Silveira, Purim, Airto,Toninho Horta, Director, arranger, keyboards forFlora Jon Lucien,ClaudioRoditi;Music Emilio Santiago,Marcio Montarroyos, educator; performedwithLenyAndrade, ing artist,composer, and internationalperformingrecord- Advisor, CJCBrazilian Program. National (Associate Professor, part-time) Marcos Silva/Piano Scott JazzQuartet.davescott.org. founder ofTrumpet Supergroup, Dave Change Band,BrassMonkeyBand; with BozScaggs,GlideMemorialChurch Marcus ShelbyJazzOrchestra; performs Jazz Orchestra, TheRealisticOrchestra, idioms; leadtrumpet,Contemporary ing andrecording artist,jazz,classical Music, U.ofMichigan.Nationalperform- Northern Colorado;BAinInstrumental MA inTrumpet Performance,U.of (Adjunct Professor, part-time) Dave Scott/Trumpet JazzSet, 2005.antonjazz.com. Jazz Festival;featured artistonNPR’s Blue composer andrecording artist;headliner, clinician, Kappa. Faculty, Stanford JazzWorkshop; Harvard U.,magnacumlaude,PhiBeta BA inMathematicsand
Francisco
Note,
Metropolitan
Brubeck Institute;performer, Hall
Yoshi’s,
(NY), Bay
Area
Blues College Davies
arranger, producer,
Philosophy, and
Alley,
Symphony
of
New Paquito
New Monterey
York,
York;
Howard Swain. fantabulousink.com Arts, SeydwaysActingStudioand John Francisco AcademyforThePerforming vocal andactingtrainingwithSan of theInternationalThespianSociety; award recipient and honorarymember jazz andworldmusicrecording artist; Publicity Director, PatoisRecords; Latin Manager, Jazzschool Inc.;Marketingand Musical Theater. Digital Marketing Francisco StateU.withemphasison Sail University;BAinDramafrom San MS inEntertainmentBusiness,Full Professor, part-time) Music —Marketing(Associate Sheryl Lynn Thomas/Business of Pete Christlieb.johnstowell.com. Liebman, BillyHart,DonThompsonand Milt Jackson,LionelHampton,Dave Performance credits includePaulHorn, as aleader, twelveasaco-leader. Canadian Musician,etc.),tenCDs columnist (GuitarPlayer, DownBeat, (Mel BayandTruefire), contributing the PacificNorthwest,publishedauthor adjunct facultyatnumerous collegesin teaching andplayinginternationally, Thirty yearsoffreelance experience Professor,(Visiting onoccasion) John Stowell/Guitar sional) banjoist. Baz andMe(2010);Pianist(occa- including Leavittsburg, OH(2009)and Composer andlyricistinmusicaltheatre, urban geographyandmusicalmapping; Alley andJewishmusic,withemphasison University; Research onjazz,TinPan candidate inMusicHistory, Stanford BA inMusic,Brown University;PhD (Associate Professor, part-time) Nate Sloan/Piano,Banjo Mr. David SanchezandNicholasPayton. Miles ensembleleadbyStefonHarris, and iscurrently amemberoftheNinety member ofSFJazzCollectivesince2010 Jazz Education(1999,2004),hasbeena from theInternationalAssociationfor Outstanding ServicetoJazzEducation the CertificateofAppreciation for around theworld.Hehastwiceearned music conservatoriesanduniversities taught masterclassesandclinicsat Music New SchoolforJazzandContemporary teaches pianoandimprovisation atthe University oftheArtsandcurrently the for JazzandContemporaryMusic, served onthefacultyatNewSchool performing artistandeducator. Hehas and GuggenheimFellow, international Pianist Edward SimonisaMcDowell (Artist inResidence) Edward Simon/Piano
Simon City
in
College New
is
a
York. Yamaha
of
New Mr.
Artist. Simon
York
and has
the
Nations inGeneva,Switzerland,theNew US andEurope includingtheUnited Foundation. Performedthroughout the Fellowship from theSanFrancisco Recipient oftheprestigious Shenson sarod maestro UstadAliAkbarKhan. University ofCalifornia.Astudent music learningtechniques,Dominican BA inPsychologywithathesis (Associate Professor, part-time) Arjun Verma /Sitar Kottke andRussellFerrante. Stefon Harris,Sergio &OdairAssad,Leo d’Rivera, KennyBarron, JoeLovano, Award. HehasperformedwithPaquito Foundation andtheBerkleeElvinJones from QueenMargaret, theSonning for MusicalExcellenceaswellgrants received Denmark’s SanktAnnae’s Award Legacy ofJohnColtrane.”Tolling has “4+Four” and“ALoveSupreme —The Crossover albumwiththerecordings two Grammyawards forBestClassical of Turtle IslandQuartet,Madswon his touringband.In06and08aspart acclaimed bassistStanleyClarkeand classes. Tours asjazzviolinistwiththe as wellcomposingandgivingmaster active touringandrecording schedule ist, 2007–present, Madsmaintainsan 2003 –2007andnowasfirstviolin- Quartet. Asviolistwiththequartet, award-winner withtheTurtle Island and composer. Two-time Grammy Internationally renowned violinist,violist, (Associate Professor, part-time) Mads Tolling Viola /Violin, “Muziek” onPatoisRecords. under theVWBrothers nametitled Marc hasadebutrecording out Can TheySingandTheOne. for TheWayne BradyShow, But Served ashousebandmember Teresa Trull andBarbaraHigby. Tillery, CorneliusBumpusand Escovedo, RayObiedo,Linda Grant, DavidGaribaldi,Pete Winwood, SheilaE.,Tom others. Recorded withSteve Train andAndyNarell among Marshall, SheilaE.andthe Pete Escovedo,Eddie Duke, FranciscoAquabella, Steve Smith,StanGetz,George Pee Wee Ellis/MaceoParker, Diane Reeves,Tower ofPower, funk, Latinandjazz.Performedwith and recording artistspecializingin San FranciscoBayArea electricbassist (Associate Professor, part-time) Marc vanWageningen /ElectricBass College ofMusic. Currently onfacultyattheAliAkbar Castle inPrague,CzechRepublic. School
in
New
York
City
and
Prague
dannzinn.com. CSUEB, UCB,andBrubeckInstitute. Frank Harris,BarryFinnerty. Faculty Eshelman, Jeff Tain Watts, MaryWells, Recorded withJoeHenderson,Dave Featured onover40CDs.Performed/ Recipient. LeaderDannZinnBand. 3-time NFAA OutstandingTeacher BA MusicPerformanceCSUEB,UCLA (Associate Professor, part-time) Dann Zinn/Saxophone,Flute michaelzilber.com. Steve SmithandBruceBarth. Narada MichaelWalden, BarryFinnerty, Dave Douglas,RachelZ,JamesGenus, Keezer, DonaldHarrison,JohnHandy, Henderson, Fareed Haque,Geoffrey Miroslav Vitous, BobBerg, Gillespie, SonnyStitt,DaveLiebman, arranger, and recording artist,composer, National andinternationalperforming Composition, Newngland Composition, Tufts U.;BMus.in PhD (Full Professor, part-time) Michael Zilber/Saxophone Co-producer, FlorioStreet Concerts. in MusicHistory, U.ofWashington, Seattle. Lone MountainCollege,SanFrancisco;BA Germany; MAinOrgan Norddeutsche Orgelakademie, Bremen, Post-graduate studiesinEarlyMusic, (Associate Professor, part-time) Katherine Westine /Piano
in
Composition,
educator; performedwithDizzy
NYU;
Performance,
Conservatory.
M Eddie MM
A
R in
C
O
S
S
I
L
V
A
59 california jazz conservatory 2015 – 2016 cjc.edu faculty 60 california jazz conservatory 2015 – 2016 cjc.edu faculty Brian Rice—[email protected] Jackeline Rago—[email protected] PERCUSSION Akira Tana —[email protected] Jeff Marrs—[email protected] Jason Lewis—[email protected] Jason Levis—[email protected] Alan Hall—[email protected] Jon Arkin—[email protected] DRUMS Marc vanWageningen — John Shifflett—[email protected] Glenn Richman—[email protected] Seward McCain—[email protected] Kai Eckhardt —[email protected] Jeff Denson—[email protected] Jeff Chambers— David Belove—[email protected] Peter Barshay—[email protected] BASS Note: PrivateInstructionfacultymustbeapproved bytheDeanofInstructioninadvance. Students mayselectaprivateinstructorfrom thefollowinglistofApproved PrivateInstructionFaculty. PRIVATE INSTRUCTIONFACULTY CALIFORNIA JAZZCONSERVATORY brianrice.com jackelinerago.com akiratana.com jeffmarrsdrums.com jazzdrumming.com jonarkin.net vwbrothers.com [email protected] johnshifflett.com glennrichman.com sewardmccain.com kaizone.com jeffdenson.com jeffchambersjazz.com [email protected] peterbarshay.com Katherine Westine — PIANO —WESTERNEUROPEAN Ben Stolorow —[email protected] Edward Simon—[email protected] Marcos Silva—[email protected] Susan Muscarella —[email protected] Frank Martin—[email protected] Bob Karty—[email protected] Peter Horvath—[email protected] Alex Conde—[email protected] Matt Clark—[email protected] PIANO —JAZZ Jackeline Rago—[email protected] CUATRO Steve Erquiaga —[email protected] Randy Vincent —[email protected] Mimi Fox—[email protected] Jeff Massanari—[email protected] Danny Caron —[email protected] GUITAR katastrophemusic.com [email protected] CLASSICAL benstolorow.com edwardsimon.com marcossilva.com cjc.edu frankmartinproductions.com bobkarty.com peterhorvath.com alexconde.com jackelinerago.com erquiaga.com randyvincent.com mimifoxjazzguitar.com jeffmassanari.com dannycaron.com
Kasey Knudsen — [email protected] Kasey Knudsen—[email protected] SAXOPHONE Joyce Pricco— [email protected] Raz Kennedy—[email protected] Ellen Johnson—[email protected] Sandy Cressman — Andrea Claburn—[email protected] Laurie Antonioli—[email protected] VOICE Mads Tolling —[email protected] Evan Price—[email protected] Jeremy Cohen—[email protected] VIOLIN Dave Scott—[email protected] Erik Jekabson—[email protected] TRUMPET John Gove—[email protected] Rob Ewing—[email protected] Doug Beavers—[email protected] TROMBONE Michael Zilber—[email protected] Dann Zinn—[email protected] ellenjohnson.net cressmanmusic.com [email protected] andreaclaburn.com laurieantonioli.com madstolling.com hcsf.com violinjazz.com davescott.org jekabson.tripod.com robewingmusic.com dougbeavers.com michaelzilber.com dannzinn.com kaseyknudsen.com
CJC ADMINISTRATIVE Robert Soper AND PROGRAM STAFF Piano Technician
Poulson Gluck Design Susan Muscarella Graphic Design Founding President and Dean of Instruction, CJC, Inc. Kristine Seinsch Owner, Jazzcaffè Joshua Birch Dean of Administration Scott Latham Registrar and Custodian of Records Recruiting Director, Asia-Pacific
Rob Ewing
Director, & board staff Jazzschool Community Music School
Laurie Antonioli CJC BOARD OF DIRECTORS Chair, CJC Vocal Program Director, Jazzschool Community Music School Vocal Program Susan Brand (Director and Chairman of the Board) Ed.D. Clinical Psychologist Erik Jekabson Director, Jazzschool Young Musicians Program Clifford Brown, Jr. (Director) President, Brown Radio and Audio Solutions Dean Muench Director of Operations Charles Charnas (Director) Former Vice President, Associate General Counsel, Jesse Rimler Corporate Law, and Assistant Secretary at Program and Events Manager Hewlett-Packard Company and Apple Inc.
Mary D’Orazi James Ellis (Director) Development Associate Branch Manager, University Branch Center, Wells Fargo Eli Goldlink, Aaron Hipschman, Seth Honig, Zack Mondlick and Erika Oba Jerry Fiddler (Director) Administrative Assistants Principal, Zygote Ventures; Chairman, Solazyme cjc.edu
Sheryl Lynn Thomas Sy Grossman (Director, Assistant Secretary) Marketing Director Chief of Gastroenterology, Oakland Kaiser Permanente, retired Lauren Adams Development Consultant Rita Hargrave, M.D. (Director) Geriatric Psychiatry Bill Aron Bookkeeper Tyler Johnston (Director and Vice Chairman of the Board) Lee Brenkman Executive Vice President, Marketing,
Sound Technician Dreyer’s Grand Ice Cream, Inc., retired – 2016 2015 jazz conservatory california
61 Bertram Lubin, M.D. (Director) Sherie Friedlander (Director) President and Chief Executive Officer, Sherie Friedlander Insurance Agency, Emeritus Children’s Hospital, Oakland Research Institute Vaughan Johnson (Director) Richard A. Lyons (Director, Secretary) M.A.T., M.D., F.A.C.S., Emeritus Partner, Wendel, Rosen, Black & Dean, LLP, Attorneys at Law James J. Keefe (Director) President and Owner, Ernie Mieger (Director) BCC Corporation, Emeritus Real Estate Operative Larry Marcus (Director) Susan Muscarella (Director) Managing Director, Founding President and Walden Venture Capital, Emeritus Dean of Instruction, CJC, Inc. staff & board staff Amy Orton (Director and CFO) Gregg Perloff (Director) Attorney at Law, Emeritus Founder and CEO Another Planet Entertainment John Papini (Director) Real Estate Investor, Emeritus Jim Reynolds (Director) Roastmaster emeritus at Peet’s Coffee and Tea; Walter Riley (Director) Past president, Pacific Coast Coffee Association Attorney at Law, Emeritus
Neil Rudolph (Director Danny Scher (Director) and Treasurer of the Board) President, Dansun Productions, Vice-President Founding Partner, Symphony Asset Management Bill Graham Presents, retired, Emeritus LLC (Retired); Director and Treasurer of the Marin Agricultural Land Trust
M. David Sherrill (Director) ADVISORY BOARD CFA, CFP, Morgan Stanley Smith Barney, New York, NY Tom Carr Carole Davis Kevin Whitman (Director) Paula Forney President and CEO of Whitman Development Benny Green Company and Whitman Capital Charles Hamilton Richard Hindman cjc.edu
Michael Yovino-Young (Director) Stacey Hoffman General Certified Real Estate Appraiser Mark Levine Jason Olaine Michael Zaninovich (Director) Patricia Phillips Vice President/Senior Investment Manager David Ring Wells Fargo Jayne Sanchez Chuck Sher Denny Abrams (Director) Merrilee Trost Partner, Abrams-Millikan Design Construction Wayne Wallace Development, Emeritus Peter Williams california jazz conservatory 2015 – 2016 2015 jazz conservatory california
62 Design: Poulson Gluck Design Photography: Grason Littles / Cover; Hali McGrath Interior photos APPLICATION FOR ADMISSION
You may also fill out an application form online at cjc.edu/apply Please submit the completed form along with a $100 application fee to :
California Jazz Conservatory, Office of Admission 2087 Addison Street, Berkeley, CA 94704 fax: 510.841.5373 e-mail: [email protected]
APPLYING FOR: FALL 20 SPRING 20 application
Personal Information
FIRST NAME MIDDLE NAME LAST NAME DATE
Name, if different from above on other academic records:
FIRST NAME MIDDLE NAME LAST NAME
( ) – ( ) –
E-MAIL ADDRESS HOME PHONE CELL PHONE
/ / – –
BIRTHDATE (MM/DD/YYYY) SOCIAL SECURITY NUMBER
Instrument Voice
LIST INSTRUMENT(S) PLAYED AND YEARS STUDIED / PERFORMED YEARS STUDIED / PERFORMED cjc.edu
Permanent Address:
ADDRESS CITY STATE ZIP
Current Mailing Address:
ADDRESS CITY STATE ZIP california jazz conservatory 2015 – 2016 2015 jazz conservatory california Poulson Gluck Design Photography: Grason Littles / Cover; Hali McGrath Interior photos
Design: 63 Educational History
Please list all schools and colleges you have attended or will attend before enrolling in the CJC.
SCHOOL LOCATION DATES ATTENDED DEGREE/DIPLOMA
1.
2.
3.
4.
5.
6.
application 7.
8.
9.
10.
Resume
Please describe your achievements, awards, extracurricular activities and other interests.
ACHIEVEMENTS
1.
2.
3.
4.
5.
AWARDS TITLE DATE DESCRIPTION
1.
2.
3.
4.
EXTRACURRICULAR ACTIVITIES DESCRIPTION DATES
1.
2.
3.
4. cjc.edu
OTHER INTERESTS
Personal Statement
Tell us about yourself, your music, future aspirations and objectives in pursuing a Bachelor of Music degree in Jazz Studies at the CJC. Please submit approximately 1,000 words in Times New Roman, 12-point font. (please attach) california jazz conservatory 2015 – 2016 2015 jazz conservatory california
64 Driving Directions
From San Francisco: UNIVERSITY AVE Take the Bay Bridge to 1-80 East towards Berke- ley/Sacramento. Take the University Avenue exit. CJC Go east (towards the hills) 2 miles to Shattuck ADDISON STREET Avenue. Turn right on Shattuck Avenue to Addison Street. Turn right on Addison Street. The CJC is immediately on your right. CENTER STREET
From East of Berkeley: OXFORD STREET From Highway 24, take the Berkeley exit: Highway ALLSTON WAY 13/Tunnel Road/Ashby Avenue. Drive west on Ashby for 2 – 3 miles. Turn right on Shattuck Av- enue. Drive north to Addison Street and turn left. KITTREDGE STREET
The CJC is immediately on your right. UC BERKELEY
MILVIA STREET
From the South Bay: SHATTUCK AVE BANCROFT WAY Take 880 North to I-80 East/Sacramento towards
Berkeley. Take the University Avenue exit. BERKELEY HIGH SCHOOL Go east (towards the hills) 2 miles to Shattuck FULTON STREET Avenue. Turn right on Shattuck Avenue to CALIFORNIA JAZZ CONSERVATORY Addison Street. Turn right on Addison Street. 2087 Addison Street • Berkeley, California 94704 The CJC is immediately on your right. 510.845.5373 • cjc.edu
Bay Area Rapid Transit — BART
The CJC is located less then a block from the Downtown Berkeley BART station. Please visit BART.gov for specific train information. The Downtown Berkeley BART Station is located in downtown Berkeley on Shattuck Avenue between Center Street and Allston Way. BART serves San Francisco/Colma, SFO/Milbrae, Fremont, Rich- mond, Dublin/Pleasanton, and Pittsburg/Bay Point.
AC Transit
There are nineteen AC Transit bus lines that service the downtown Berkeley area. All buses are wheel- chair accessible and can transport bicycles. Please visit 511, actransit.org for specific train informa- tion.
Bus lines: F, FS, 800, 1Lx, 52L, 1R, 51S, The William E. Robinson 7, 9, 15, 18, 19, 51, 65, 67, 79, 604, 605, 851. Foundation “Jazz has been the voice of freedom for millions of people for over a century. And jazz, without a doubt, defines cultural diplomacy. Jazz is a distinct American art form, yet is a potent and persua- sive universal and versatile lan- guage that has both incorporated and influenced global music.
Jazz values diversity, encourages ethical and honest behavior, doesn’t shy away from vulnerability, promotes nnovative ideas, and insists one take responsibility for one’s actions. Jazz inspires inner reflection as well as communal participation, and jazz has an engaging appeal. There’s an element of the unknown in the music that mirrors real life — so it’s never boring because the unexpected is just around the corner. The music creates and alleviates tension, and when performed live, jazz positively responds to its audience.“
Using intercultural dialogue 2087 Addison Street to encourage and improve our Berkeley CA 94704 communal existence, jazz musi- 510 845-5373 phone cians have always played an 510 841-5373 fax integral role, and continue to email: [email protected] be beacons in the storm, cjc.edu uplifting the human spirit.”
— Jazz pianist and 2014 Norton Lecturer HERBIE HANCOCK on “Cultural Diplomacy and the Voice of Freedom” at the Mahindra Humanities Center at Harvard University February 27, 2014