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DMA Study Guide: Jazz and Contemporary Media

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DMA Study Guide: Jazz and Contemporary Media DMA Study Guide: Jazz and Contemporary Media Written Exam DMA students at Eastman are required to take a written Comprehensive Exam as part of their graduation requirements. This culminating academic event functions as the standard for all DMA students regardless of their curricular interests or area of specialty. The exam is taken upon completion of all course work. While there are substantive opportunities to respond to jazz‐ specific topics, JCM candidates are also expected to address issues and questions drawn from traditional Western music history, theory, and repertoire. The exam is divided into four sections: I ‐ Terms – A list of twenty to twenty‐five terms is given and the candidate must write twenty brief specific definitions or descriptions. About one paragraph or one blue‐book page‐length for each term is generally appropriate. Terms are drawn from Western music topics at large as well as Jazz‐specific themes and subjects. (For a list of non‐jazz terms, see practice exams housed in the Theory Office located on the 4th floor of the ESM Annex.) The list below provides a brief sample of the type of jazz terms used on the exam. Blanton/Webster Band Mahavishnu Orchestra AACM Carolina Shout Altered Dominant Benny Goodman Trio Billie Holiday Stride Piano Thelonius Monk Chant of the Weed Carlolina Shout Hot Five, Hot Seven II ‐ Essay The candidate may write one long essay or two short essays for this part of the exam. Jazz‐specific and traditional music history topics will be addressed. A sample list of questions is listed below: Compare and contrast the elements and performance practices between bebop and swing. Provide specific repertoire, recordings, and representative artists. Discuss the influence of Miles Davis as a leader and the effect on the musical language of his sideman. Discuss three important recordings of Body and Soul and the transformation of the melodic, harmonic, and formal elements in each recording Discuss the development of the rhythm section in swing, bebop, modal, free, and jazz‐rock. Compare and contrast the musical traits between Louis Armstrong and Bix Beiderbecke Part III – Jazz Analysis and Skills The candidate must demonstrate their knowledge of jazz theory, orchestration, harmony, and improvisation for this portion of the exam. Sample questions are listed below: A. Theory Skills Re‐harmonize a standard melody – using a five part, drop‐2 techniques (rootless voicing) in a saxophone soli w/ logical voice leading Write a solo using specific modes (chord/scale relationship) Harmonize a tune in the style of Chick Corea, Keith Jarrett, Duke Ellington, etc. Harmonize a 16‐bar melody using cross‐scoring techniques Compose jazz counterpoint against a given melody Compose a contrafact on a ‘standard’ harmonic rhythm Given a motive, compose a jazz solo (illustrate logical development) Re‐harmonize a given harmonic progression B. Analysis Transcribed solo by improvisers such as: Charlie Parker Lennie Tristano Herbie Hancock Ornette Coleman Bill Evans Wayne Shorter Coleman Hawkins Scores by composers such as: Gunther Schuller Duke Ellington Bob Brookmeyer Bill Holman George Russell Gil Evans score Claude Thornhill Thad Jones Clare Fischer Bud Powell (ie Glass Enclosure) Wayne Shorter Part IV –Score ID The candidate is given four scores from the traditional Western music repertoire (there are no jazz options for this portion of the exam) and is expected to provide specific and insightful analysis and commentary for each piece. In addition, the candidate is expected to identify each piece (or excerpt) with regard to style, period, approximate date of composition, and likely composer. Oral Exam Upon successful completion of the written comprehensive exam, the JCM doctoral candidate is required to take an oral exam. This exam provides an opportunity for the candidate to speak extemporaneously about jazz topics and other aspects of their musical outlook and perspective. A committee of four faculty members serves as evaluators and generally is comprised of a Music Theory professor, a Musicology professor and two members of the JCM faculty. The focus of the oral exam is to assess the candidate’s knowledge of jazz music, its repertoire, performers, composers, discography, theoretical principles, etc. The candidate will also be expected to demonstrate knowledge of traditional music theory and music history as related to jazz music, its syntax, vocabulary, repertoire, etc. The candidate will be expected to address jazz topics such as significant improvisers, composers, recordings, groups, stylistic periods, repertoire, etc. .
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