GENERAL CATALOG 2018–2019 / EDITION 18 ACADEMIC CALENDAR 2018–2019

Spring Semester 2018

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

Fall Semester 2018

Auditions for Fall 2018 By Appointment New Student Orientation Aug 16 First Day of Fall Instruction Aug 20 Last Day to Add/Drop a Class Sep 2 Academic and Administrative Holiday Sep 3 Academic and Administrative Holiday Nov 19 – 25 Spring 2019 Enrollment Deposit Due on or Before Dec 1 Last Day of Instruction Dec 7 Final Examinations and Juries Dec 10 – 14 Winter Recess Dec 15 – Jan 20, 2019 Spring Registration Jan 7 – 11, 2019

Spring Semester 2019

Auditions for Spring 2019 By Appointment Academic and Administrative Holiday Jan 21 First Day of Spring Instruction Jan 22 Last Day to Add / Drop a Class Feb 5 Academic and Administrative Holiday Feb 18 Spring Recess Mar 25 – 31 Last Day of Instruction May 10 Final Examinations and Juries May 13 – 17 Commencement May 18 Fall 2019 Enrollment Deposit Due on or Before Jun 1 Fall 2019 Registration Jul 29 – Aug 2

Please note: Edition 18 of the CJC 2018 – 2019 General Catalog covers the time period of July 1, 2018 – June 30, 2019. B CONTENTS

ACADEMIC CALENDAR ...... Inside Front Cover (The Bachelor of Music Degree in Jazz Studies) Juries ...... 25 ABOUT THE CALIFORNIA JAZZ CONSERVATORY Senior Project ...... 25 Message from the President ...... 2 Performance ...... 25 History and Programs ...... 3 Core Courses: Instrumental Track ...... 26 Vision, Mission, Goals & Objectives ...... 4 Core Courses: Vocal Track ...... 26 State Licensure ...... 6 Elective Courses ...... 26 Accreditation ...... 6 General Studies Courses ...... 26 Questions or Complaints ...... 6 Independent Study ...... 27 Facilities and Student Services ...... 6 Keyboard Proficiency ...... 27 Library ...... 6 Workshops and Master Classes ...... 27 Record-Keeping ...... 7 Berkeley City College ...... 7 The Associate of Arts Degree in Jazz Studies Curriculum Requirements ...... 27 GENERAL INFORMATION Residency Requirements ...... 27 Admission Requirements ...... 8 Juries ...... 27 Auditions ...... 8 Performance ...... 28 Placement Examinations ...... 8 Core Courses: Instrumental Track ...... 28 Tuition and Supplemental Fees ...... 8 Core Courses: Vocal Track ...... 28 Private Instruction ...... 11 Elective Courses ...... 28 Scholarships and Prizes ...... 11 General Studies Courses ...... 28 Work Study ...... 11 Keyboard Proficiency ...... 28 Code of Academic Integrity ...... 11 Workshops and Master Classes ...... 28 Code of Conduct ...... 11 Academic Standing ...... 12 COURSE DESCRIPTIONS Academic Probation, Course Numbering ...... 29 Suspension and Dismissal ...... 12 Musicianship ...... 29 Housing ...... 12 Theory ...... 32 International Students ...... 12 Harmony ...... 33 Composition ...... 34 FINANCIAL AID ...... 13 History ...... 35 Private Instruction ...... 39 POLICIES Instrumental Performance Ensembles ...... 39 Student Enrollment Agreement ...... 20 Vocal Performance ...... 46 Cancellations, Withdrawals and Refunds ...... 20 Music Technology ...... 46 Leaves of Absence ...... 20 Audio Production ...... 47 Attendance ...... 20 Business of Music ...... 49 Grading and Academic Penalties ...... 21 Senior Project ...... 49 Adding, Dropping and Withdrawing Department of General Studies ...... 50 from Courses ...... 21 Curriculum Requirements Template ...... 56 Challenge Examinations ...... 21 Guide to Course Titles ...... 61 Credit for Prior Experiential Learning ...... 22 Credit Hour Policies ...... 22 FACULTY ...... 64 Transfer Credit ...... 22 Notice Regarding Transferability of Credits ..... 23 PROGRAM AND ADMINISTRATIVE STAFF ...... 74 Student Grievances ...... 23 Student Right To Privacy ...... 23 BOARD OF DIRECTORS AND Injury Prevention ...... 23 ADVISORY BOARD ...... 74

DEGREE PROGRAMS APPLICATION FOR ADMISSION ...... 76 The Bachelor of Music Degree in Jazz Studies Curriculum Requirements ...... 24 DIRECTIONS TO THE CJC ...... 80 Areas of Concentration ...... 24 Residency Requirements ...... 25 A WARM WELCOME TO THE CALIFORNIA JAZZ CONSERVATORY!

On behalf of the California Jazz Conservatory family of faculty, students and staff, welcome!

The California Jazz Conservatory begins academic year 2018–19 with an exciting new campus expansion — Jerry Fiddler Annex — housing additional classrooms and practice rooms, a music library, a student lounge and a performance venue. Our new facility provides you with even greater opportunities to realize your singular professional ambitions in jazz. As an aspiring artist, you have many educational options to choose from. Here are some of the most important reasons you should consider the California Jazz Conservatory: • Our faculty comprises experienced teaching artists and academics with a proven track record of turning students into professionals, musicians into artists; • We support and promote individual creativity, resulting in widespread recognition for the Conservatory as a hotbed for cutting edge new work; • Our Jazz Studies curriculum is 100% jazz-relevant — from the core music courses to the general studies requirements; • Our student body is small by design. With an exceptionally low student-to-teacher ratio, students receive an abundance of individual attention from all of their teachers; • Our campus is located in the heart of the vibrant Downtown Berkeley Arts District. Students are within walking distance of a number of the Bay Area’s preeminent arts organizations, including the UC Berkeley Art Museum and Pacific Film Archive, Cal Performances, the Freight and Salvage, and the Berkeley Rep and Aurora Theaters; • CJC students have easy access to affordable public transportation. Buses and BART are within half a block, connecting students to the Bay Area and beyond; • Finally — and perhaps most importantly — you will be attending the only independent accredited music conservatory in the country that is 100% devoted to jazz and related styles of music, and 100% devoted to you!

Choosing the California Jazz Conservatory will enable you to become the artist you aspire to become, in a program whose mission celebrates and promotes individual expression on all fronts. An exciting and productive semester awaits! Join us!

Yours in jazz,

Susan Muscarella, Ph.D. President

CALIFORNIA JAZZ CONSERVATORY 2087 Addison Street • Berkeley, California 94704 phone: 510.845.5373 • fax: 510.841.5373 cjc.edu THE CALIFORNIA JAZZ CONSERVATORY

HISTORY AND PROGRAMS

Founded in 2009, the California Jazz Conservatory The California Jazz Conservatory offers students: (CJC) is positioned as the only independent, • A synergistic, comprehensive jazz education accredited music conservatory in the country and performance program for today’s devoted solely to the study and performance of professional jazz instrumentalist and vocalist jazz and related styles of music. • Small classes taught by professional artists The CJC is located in the historic Kress Building on and experienced educators in the field of Addison Street in the heart of the Downtown jazz and related styles of music Berkeley Arts District. Part of the vibrant East Bay performing arts scene, the CJC is situated in close • Opportunities to study with preeminent proximity to the Berkeley Repertory and Aurora visiting artists and educators Theatres, The Freight & Salvage, the Berkeley Art Museum and Pacific Film Archive, and the world • Performance opportunities at prominent Bay class performing arts presenter Cal Performances Area venues; workshop opportunities with at the University of California, Berkeley. resident faculty and visiting artists

• Opportunities to record, study and perform The CJC offers instrumentalists and vocalists a at the world-renowned recording facility 4-year Bachelor of Music degree in Jazz Studies Fantasy Studios with areas of concentration in Brazilian Jazz, Audio Production and North American Roots Music, and • Access to important networking opportunities a 2-year Associate of Arts degree in Jazz Studies. • Easy access to the San Francisco Bay Area’s The CJC holds its students accountable to the thriving arts scene via public transportation highest artistic, academic and ethical standards The California Jazz Conservatory is an Equal at all times. Students are evaluated on their Opportunity Employer. It does not discriminate performance in classes; juries; concerts; and in the admissions process or in the awarding Senior Project, a final project synthesizing their of financial aid on the basis of race, religion, artistic and academic work over the course of sexual orientation, gender identity, national their chosen program of study. origin, or disability.

3 ABOUT THE CJC

VISION VALUES The California Jazz Conservatory admits musicians • Excellence in Education and graduates artists. • High Ethical Standards MISSION The California Jazz Conservatory educates future • Historical and Cultural Heritage generations to sustain the jazz art form. Positioned • Diversity in All of its Forms as the only independent, accredited music conservatory in the country devoted solely to the • Collaborations study and performance of jazz and related styles of music from throughout the world, the California GOALS AND OBJECTIVES Jazz Conservatory provides a dynamic community The following five goals and corresponding of students, artists, educators, scholars and objectives serve to guide the CJC: audiences with a forum to study, perform, teach, research, appreciate and enjoy jazz and related 1. Promoting Excellence in Education styles of music from throughout the world. The CJC strives to promote excellence in music scholarship and performance by: Comprising two distinct education programs, the California Jazz Conservatory, a postsecondary • Establishing and maintaining the highest artistic degree-granting program, and the Jazzschool and academic standards and promoting a Community Music School, a non-degree-granting strong work ethic. community education program, the institution honors the contributions of past masters and • Providing an educational forum on par promotes artistic innovation, bringing together a with nationally-ranked institutions offering diverse music community to develop practical programs in jazz studies. skills, acquire artistic sensibility, realize creative potential and find artistic voice. • Attracting and retaining a world-class faculty and inspired student body. • The California Jazz Conservatory The California Jazz Conservatory is dedicated • Providing a comprehensive curriculum and to fostering the development of the aspiring supportive environment to develop artistic professional jazz musician and building audiences sensibility and musicological insight relevant to sustain the jazz art form. With world-class to the aspiring jazz professional and the teaching artists, the California Jazz Conservatory jazz enthusiast. integrates progressive education programs with • Providing a forum to exercise freedom of public performance opportunities to prepare expression both individually and as a member future generations for a fulfilling life in jazz. of a group in the democratically-structured • The Jazzschool paradigm of the jazz ensemble. A community music school, the Jazzschool • Maintaining a state-of-the-art, aesthetically fosters the development of the aspiring jazz pleasing, one-stop-shopping-for-jazz facility, musician of all ages and levels and builds housing classrooms, practice rooms, intimate audiences to sustain the jazz art form through performance space, book and record store, a non-degree-granting education program and cafè. integrating classes, short-term workshops, artists-in-residency, and public performance opportunities.

4 5 ABOUT THE CJC

2. Fostering High Ethical Standards • Seeking and embracing the cultural richness The CJC strives to foster high ethical of a diverse constituency of students, faculty, standards by: staff and greater music community.

• Providing an environment that promotes the • Implementing targeted community development of well-balanced, conscientious, outreach efforts and providing scholarship compassionate, forward-looking individuals opportunities to deserving students in who will contribute to a just society. need of financial assistance.

3. Honoring Historical and Cultural Heritage • Providing a nurturing environment for The CJC strives to honor the historical and students, teachers, scholars and artists cultural heritage of the jazz canon by: in the jazz field.

• Recognizing the historical and multicultural • Providing an inviting setting for family, origins of jazz. friends, and the greater music community to celebrate students’ accomplishments • Highlighting the prominent role the jazz and enjoy listening to jazz in its art form has played in shaping American many forms. history and culture. course descriptions 5. Developing Collaborations • Offering curricula designed to inform and The CJC strives to build relationships develop an appreciation of the relationship and create collaborations with artistic between jazz and American culture and and educational constituencies by: the global jazz diaspora. • Providing access to local, national and 4. Nurturing Diversity in All of its Forms global perspectives and new and meaningful The CJC strives to create a diverse, educational and artistic resources. all-inclusive, close-knit community by: • Creating opportunities for student and  faculty exchanges with music education programs locally, nationally and internationally.

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

— Cornel West, “Race Matters”

4 5 ABOUT THE CJC

State Licensure As a prospective student, you are encouraged to review The California Jazz Conservatory is a private institution this catalog prior to signing an enrollment agreement. approved to operate by the Bureau of Private Postsec- You are also encouraged to review the School Perfor- ondary Education in the State of California as set forth in mance Fact Sheet, which must be provided to you prior the California Private Postsecondary Education Act of to signing an enrollment agreement. 2009 (CEC) and Title 5, Division 7.5 of the California Code of Regulations (CCR). The Act is administered by Facilities and Student Services the Bureau for Private Post­secondary Education, under The California Jazz Conservatory is housed in two the Department of Consumer Affairs. Bureau approval buildings located almost directly across from one another means the institution is in compliance with and meets the on Addison Street in the Downtown Berkeley Arts District. minimum standards pursuant to the California Private Postsecondary Education Act of 2009. At 2087 Addison Street, students have access to fully equipped classrooms (each with pianos, drum sets, Bankruptcy Disclosure: the CJC has never filed a amplifiers and sound systems), practice rooms, a bankruptcy petition, operated as a debtor in possession, bookstore and an intimate performance space. The or had a bankruptcy petition filed against it. Jazzcaffè serves an assortment of panini, soups, salads, sweet breads and espresso drinks. Accreditation The California Jazz Conservatory is an accredited At 2040 Addison Street, our new campus expansion, institutional member of the National Association of students have access to additional classrooms, practice Schools of Music (NASM). NASM is recognized by the rooms, a listening library, a 100-seat performance space United States Department of Education. and cafè, Jazzcaffè 2040.

“NASM, founded in 1924, is an organization of schools, All CJC class sessions are held at 2087 and 2040 Addison conservatories, colleges and universities with approxi- Street, Berkeley, California. Some classes in the concen-

course descriptions mately 644 accredited institutional members. It estab- tration in Audio Production, as well as the Fantasy lishes national standards for undergraduate and graduate Studios Internship Program, is held at Fantasy Studios, degrees and other credentials.” nasm.arts-accredit.org 2600 Tenth Street, Berkeley, California.

Please note: This program does not lead to positions in a Library profession, occupation, trade, or career field requiring Students have access to three extensive music collections licensure in the State of California. within walking distance of the CJC campus: the Jennifer A. Maxwell Music Library at the California Jazz Conservatory, Questions or Complaints the Art and Music Department at the Berkeley Public Any questions a student may have regarding this catalog Library, and the Jean Gray Hargrove Music Library at the that have not been satisfactorily answered by the UC Berkeley Department of Music. institution may be directed to the Bureau for Private Postsecondary Education at: Jennifer A. Maxwell Music Library Established in February 2018, the Jennifer A. Maxwell Address Music Library serves as the California Jazz Conservatory’s 2535 Capitol Oaks Drive inaugural systematized music library. Holdings include a Suite 400, Sacramento, CA 95833 collection of approximately 9,000 of the world’s most P.O. Box 980818, West iconic jazz recordings in LP format, along with hundreds Sacramento, CA 95798-0818 of hard copy books and periodicals on jazz and beyond. The California Jazz Conservatory aspires to house one Web site address of the country’s leading archives for jazz and jazz-related bppe.ca.gov music. The Conservatory’s first-ever music library has been made possible through the generous support of Jennifer Telephone A. Maxwell. (888) 370-7589 or Fax: (916) 263-1897 (916) 431-6959 or Fax: (916) 263-1897 The Art and Music Department at the Berkeley Public Library. The scope of the music collection at A student or any member of the public may file a the Art and Music Department runs from Albinoni to complaint about this institution with the Bureau Zouk — on compact disc, vinyl and score. The rich jazz for Private Postsecondary Education by calling (888) collection ranges from reissues of vintage recordings to 370-7589 (toll-free) or by completing a complaint form, contemporary offerings from the next generation of which can be obtained on the Bureau’s internet web site: jazz masters. Music from around the globe is available bppe.ca.gov. in the audio collection in all formats.

6 7 ABOUT THE CJC

The CD collection, started in September 1985, now Record Keeping includes over 14,000 titles. The Art and Music Depart- The California Jazz Conservatory Registrar and Custodian ment music collection also includes roughly 6,000 vinyl of Records maintains a secure file for each student that records. Classical, opera, jazz, world, and popular music contains pertinent information including but not limited are represented. Printed music scores, a range of music to: the Application for Admission; transcripts from the biographies and books on music theory and performance CJC and other institutions (including verification of high are readily available. school completion or the equivalency); documents evidencing a student’s prior experiential learning; class The Art and Music Department subscribes to over forty scheduling and registration; degree requirements and periodicals covering a variety of musical genres, specific progress reports; attendance; grading; documents instruments, and recorded sound. Their periodical relating to tuition, financial assistance and scholarships; collection also includes the impressive Greenwood Press records of the dates of enrollment, withdrawal, leaves of jazz periodicals collection, a microfilm archive of the absence, suspension and/or dismissal from the institution historical jazz periodical, containing reviews and events and graduation; copies of any official advisory notices or dating back to the 1920s. warnings regarding the student’s progress; results of juries or other examinations; copies of recordings Electronic resources available through the Berkeley programs, awards or other accomplishments of note; and/ Public Library website allow patrons to listen online to or evaluations, suggestions and/or complaints. The CJC recordings of classical and contemporary music from shall maintain pertinent student records for a period of at around the world. least 5 years from the student’s date of completion or withdrawal. Transcripts documenting the completion of The Art and Music Department can be found on the the degree will be maintained permanently. 5th floor of the Berkeley Public Library and is open Student records are strictly confidential. A student Mondays, 12pm – 8pm; Tuesdays, 10am – 8pm; Wednes- wishing to disclose their educational record to any other days, Thursdays, Fridays and Saturdays, 10am – 6pm; and party must first submit written proof of authorization to Sundays, 1pm – 5pm. Visit berkeleypubliclibrary.org for the Registrar and Custodian of Records. Authorization course descriptions a complete schedule of holidays. may be revised at any time throughout a student’s tenure at the CJC. Students may borrow up to 50 items at any given time with their Berkeley Public Library card. Those items not Berkeley City College available onsite may be acquired through Link+. Located at 2050 Center Street, just one block from the CJC, Berkeley City College offers a wide range of Jean Gray Hargrove Music Library. Founded in 1947 courses that fulfill CJC General Studies requirements in as a branch of the University Library, the Music Library English (6 credits), Humanities (6 credits), Mathematics was located on the second floor of Morrison Hall from (3 credits), and Elective requirements (5 credits). 1957 until July 6, 2004, when the Jean Gray Hargrove Music Library opened to the public. Its collections today See Department of General Studies for General Studies contain some 180,000 volumes of books and printed courses approved for transfer from Berkeley City music, 50,000 sound and video recordings, and 30,000 College. Elective courses must be degree-relevant and microforms in addition to extensive special holdings of are accepted for transfer on a by-approval basis by manuscripts, rare materials, and archives. The collection the Dean of Instruction. For Berkeley City College serves the diverse teaching and research needs of course descriptions and class schedules, please visit the UC Berkeley Department of Music, which offers a berkeleycitycollege.edu/wp/programs/class-schedules- general undergraduate major and graduate programs in and-catalogs/. musicology, ethnomusicology­ , and composition, as well as embracing a variety of performance activities. The California Jazz Conservatory has not entered into a formal articulation or transfer agreement with The majority of materials in the Hargrove Music Library Berkeley City College, or any other college or university, — with the exception of sound and video recordings, at this time. periodicals, microforms, and special collections — circulate for use outside the library. Borrowing materials requires a current UC Berkeley Library card. Borrowers must have a current library card issued by the Privileges Desk at Doe Library. Visitors are welcome to use he CJC truly helps students collections on-site. lib.berkeley.edu/MUSI/collections.html T celebrate their individuality, wrestle with their challenges and develop their passion.

— Chair, CJC English Department

6 7 ABOUT THE CJC GENERAL INFORMATION

ADMISSION REQUIREMENTS To apply, visit cjc.edu/apply. Please send all supporting Both incoming freshmen and transfer students are materials including transcripts and letters of recommen- accepted into the CJC based on the following: dation. For those students living more than 150 miles 1. A completed application form including a personal from the CJC, please include samples of your playing. statement outlining your past accomplishments, future Send all material — along with a non-refundable $100 objectives and how and why you believe the CJC will Application Fee — to: help you realize them. California Jazz Conservatory 2. An official high school transcript. All students must Office of Admission have a satisfactory academic record and have earned 2087 Addison Street an overall GPA of 2.0 or higher to be admitted to the Berkeley, CA 94704 CJC. Photocopies are not accepted. Please note: the CJC does not accept ability-to-benefit students. Auditions 3. Official college transcript(s) if applicable. Please Note: All students applying for admission to the CJC must all students must have a satisfactory academic record audition prior to acceptance. Auditions are held on-site. and have earned an overall GPA of 2.0 or higher to be A live audition is required for all students living locally; admitted to the CJC. Photocopies are not accepted. pre-recorded performance samples on a DVD are 4. Two original letters of recommendation, at least one accepted in lieu of a live audition for students living more of which is from a professional musician and/or music than 150 miles from the CJC. After your completed educator familiar with your work and professional application has been received, the Registrar will contact objectives. Photocopies are not accepted. you to schedule your audition. 5. A live audition. Students living more than 150 miles Auditions are approximately 30 minutes in length and course descriptions from the CJC may substitute a DVD of their playing in may be scheduled throughout the academic year. lieu of a live audition. (See Auditions, Audition Require- Students must be prepared to perform and improvise ments and Placement Examinations, next section.) over the following tunes of their choice: a medium-tempo 6. Results of the Ear Training and Sight Singing and Jazz 12-bar blues; a ballad; a Latin tune; and an up-tempo jazz Theory and Improvisation Placement Exams. (See tune. They will also be given a short selection to Auditions, Audition Requirements and Placement sight-read. Examinations, next section.) Please note: To be accepted into the Jazz Studies Placement Examinations degree program, students are expected to have: All students applying for admission to the CJC must take two placement examinations: Musicianship (Ear Training 1. A basic knowledge of music theory including: and Sight Singing), and Jazz Theory and Improvisation. • Major and minor scales and key signatures in both Placement exams are not graded: they serve to confirm treble and bass clefs basic required knowledge and skills, and determine • Major, minor, diminished and augmented triads appropriate placement appropriate placement in • Major, dominant and minor seventh chords the Musicianship and Jazz Theory series. Placement AND examinations are administered directly following the 2. Basic musicianship skills including: audition. The Musicianship placement exam is approxi- • The ability to identify simple and compound mately 30 minutes in length; the Jazz Theory and intervals and seventh chords by ear Improvisation placement exam is one hour in length. • The ability to take simple melodic and rhythmic dictation Tuition and Supplemental Fees • The ability to sight sing a simple melodic line • Tuition — Instrumentalists 7. For international students, an internet-based TOEFL (iBT) score. All instruction at the CJC occurs in English. Full-Time (12 credits and above / semester): A high level of English proficiency is required for $9,500 (including 1 credit of Private Instruction; admission. All non-native speakers must submit an not including Individual Tutorial, Trio Instruction official score report from the Test of English as a or Senior Project) Foreign Language (TOEFL) prior to enrolling. Applicants who have completed a 4-year degree Part-Time (11 credits or fewer / semester): $750 / program at an English-speaking college or university credit (not including 1 credit of Private Instruction / may request TOEFL exemption. The CJC accepts Individual Tutorial, Trio Instruction or Senior Project) internet-based TOEFL (iBT) scores only. Please do not Private Instruction / Individual Tutorial / Senior Project submit paper-based TOEFL (pBT) scores. Applicants $1,650 / credit must receive a score of 75 or higher to be admitted into the CJC. TOEFL scores are valid for two years Trio Instruction: $1,100 / credit after the test date and there is no limit to the number of times the test may be taken. 8 9 GENERAL INFORMATION

• Tuition — Vocalists for registration deadlines). • Enrollment Deposit Full-Time (12 credits and above / semester): $9,800 New students are required to pay a non-refundable (including Private Instruction; not including Individual Enrollment Deposit of $100 at the time of their accep- Tutorial or Trio Instruction) tance into the program. Returning students are required to pay a non-refundable Enrollment Deposit of $200 on Part-Time (11 credits or fewer / semester): $750 / or before June 1, prior to each fall semester, and on or credit (not including 1 credit of Private Instruction / before December 1, prior to each spring semester. The Individual Tutorial / Trio Instruction or Senior Project) Enrollment Deposit is credited to students’ tuition for the Private Instruction / Individual Tutorial / Senior upcoming semester. A late fee of $100 per month will Project: $1,650 / credit apply to an Enrollment Deposit made after the due date. Trio Ensembles: $1,100 / credit • Course Materials / Lab Fees Students should expect to pay approximately $300 for Tuition is due at the time of registration. texts and supporting course materials per semester. (See registration dates listed in the Academic Calendar.) Students registering after the registration period are Students enrolled in the concentration in Audio Produc- subject to a late registration fee of $50. Students must tion should expect to pay approximately $4200 in lab either have paid tuition and fees in full, have been fees. accepted for financial aid, or have created an in-house semester-long payment plan prior to the first day of • Computer Requirements instruction to attend classes. Students with overdue Instruction at the CJC utilizes many modern technologies tuition may not register for succeeding semesters. and internet resources, and all students are expected to Seniors with outstanding tuition will be prohibited from own or have access to a computer running Mac OS 10.10 taking part in their graduation ceremony and will not be (Yosemite) or Windows 7 at minimum with high-speed

issued their transcript. course descriptions internet access for research, communication and In-House Payment Plan ­— The CJC offers students the coursework. For music technology courses, a laptop with option of paying their tuition on a monthly basis for a fee a recent version of Sibelius (version 6 or above) and Pro of $50/semester. The CJC In-House Payment Plan must be Tools (version 9 or above, or Pro Tools First) is required created at the time of registration each semester. For fall to participate. If purchasing a computer and software semester, tuition is divided up into five equal payments due specifically for this program, we recommend a Macintosh on the first of the month for months August–December; laptop, a standard word processing suite such as for spring semester tuition is divided up into five equal Microsoft Office or Open Office, and the Sibelius music payments due on the first of the month for months notation program, for maximum compatibility with the January–May. A late fee of $25 will be charged for material and software being taught. payments submitted after the first of each month. Note: the current semester’s tuition must be paid in full before a • Library Cards student may register for the subsequent semester. To California residents are entitled to a Berkeley Public create a payment plan, contact the Registrar at registrar@ Library card. There is a $100 annual fee for a library card cjc.edu. for the Jean Gray Hargrove Library at UC Berkeley.

Students with an outstanding balance who have not • Challenge Examinations yet been accepted for financial aid or created a The fee for Challenge Examinations (testing out of payment plan by the first day of instruction will be a course) is $275 per course. dropped from the program. Students with overdue tuition may not register for succeeding semesters. • Transcripts Seniors with outstanding tuition will be prohibited Official transcripts are issued for a fee of $10 per from taking part in their graduation ceremony and will transcript. Unofficial transcripts are free of charge. not be issued their transcript. To request a transcript, please contact the Registrar at registrar @cjc.edu. Tuition at the California Jazz Conservatory is subject to increase by approximately 4% per year. • Student Tuition Recovery Fund (STRF): Students are required to pay the non-refundable • Application Fee state-imposed assessment for the Student Tuition Students must pay a one-time, non-refundable Applica- Recovery Fund (STRF) of $0.00 per every $1,000 of tion Fee of $100. The Application Fee is submitted along tuition each semester. California law requires that upon with the Application for Admission. enrollment a fee be assessed relative to the cost of tuition. These fees support the Student Tuition Recovery Fund • Registration Fee (STRF), a special fund established by the California A non-refundable Registration Fee of $50 is charged per Legislature to reimburse students who might otherwise semester. Students registering after the deadline will be experience a financial loss as a result of untimely school charged a Late Registration Fee of $50 (please see closure. Institutional participation is mandatory. Academic Calendar 2018 – 2019 on the inside front cover 8 9 GENERAL INFORMATION

You must pay the state-imposed assessment for • Summary of Tuition and Supplemental Fees the Student Tuition Recovery Fund (STRF) if all of the — Application Fee (one-time, non-refundable): $100 following applies to you: — Enrollment Deposit (per semester, non-refundable; 1. You are a student in an educational program, who applied to tuition): $100 (new students); $200 is a California resident, or are enrolled in a residency (returning students) program, and prepay all or part of your tuition either by — Enrollment Deposit Late Fee (per month): $100 cash, guaranteed student loans, or personal loans, and (See under Enrollment Deposit) — Registration Fee (per semester, non-refundable): 2. Your total charges are not paid by any third-party $50 payer such as an employer, government program or other payer unless you have a separate agreement — Late Registration Fee (per semester): $50 to repay the third party. — Late Payment Fee (per month): $50 (per terms of the Enrollment Agreement) You are not eligible for protection from the STRF and you — Tuition Instrumentalists: $9,500 / semester, full-time are not required to pay the STRF assessment, if either of enrollment; $750 / credit, part-time enrollment the following applies: — Tuition Vocalists: $9,800 / semester, full-time enrollment; $750 / credit, part-time enrollment 1. You are not a California resident, or are not enrolled in a residency program, or — Private Instruction / Individual Tutorial: $1,650 / credit 2. Your total charges are paid by a third-party, such as — Trio Ensembles: $1,100 / credit an employer, government program or other payer, and — Lab fees for the Concentration in Audio you have no separate agreement to repay the third party. Production: $4,200 (estimated)

course descriptions The State of California created the Student Tuition — STRF fee: $0.00 per $1,000 of tuition Recovery Fund (STRF) to relieve or mitigate economic (per semester); see under Student Tuition losses suffered by students in educational programs who Recovery Fund are California residents, or are enrolled in a residency — Challenge Examinations: $275 / course programs attending certain schools regulated by the — Textbooks and supporting materials: Bureau for Private Postsecondary Education. $300 / semester (estimated)

You may be eligible for STRF if you are a California — Music Software: $600 (estimated) resident or are enrolled in a residency program, prepaid — Library Fee (annually): $0 – $100 tuition, paid the STRF assessment, and suffered an — Transcripts: $10 per official transcript economic loss as a result of any of the following:

1. The school closed before the course of instruction • Total Tuition Charges was completed. Instrumentalists 2. The school’s failure to pay refunds or charges on behalf of a student to a third party for license fees or Full-time enrollment ($9,500 / semester over any other purpose, or to provide equipment or materials 8 semesters): $76,000 for which a charge was collected within 180 days before Full-time enrollment ($9,500 / semester over the closure of the school. 9 semesters): $85,500 Part-time enrollment — Instrumentalists/ 3. The school’s failure to pay or reimburse loan proceeds ($750 / credit @ 136 credits + $1650 / credit under a federally guaranteed student loan program as @ 8 credits): $115,2000 required by law or to pay or reimburse proceeds received by the school prior to closure in excess of tuition and Part-time enrollment — Pianists other costs. ($750 / credit @ 134 credits + $1650 / credit @ 8 credits): $113,700 4. There was a material failure to comply with the Act or this Division within 30 days before the school closed or, Vocalists if the material failure began earlier than 30 days prior to Full-time enrollment ($9,800 / semester over closure, the period determined by the Bureau. 8 semesters): $78,400

5. An inability after diligent efforts to prosecute, prove, Full-time enrollment ($9,800 / semester over and collect on a judgment against the institution for a 9 semesters): $88,200 violation of the Act. Part-time enrollment ($750 / credit @ 136 credits + $1650 / credit @ 8 credits): $115,200 However, no claim can be paid to any student without a social security number or a taxpayer identification number. 10 11 GENERAL INFORMATION

Private Instruction Work-Study Students are required to take fifteen one-hour private The California Jazz Conservatory offers work-study lessons per semester. Please see p. 73 for a list of opportunities on an as-available basis. Work-study approved private instruction faculty. The cost of one positions may include accompaniment, light office work, credit of private instruction is included in full-time tuition; bookstore staffing and more. Please contact the Dean of the rate for private instruction for part-time students is Instruction regarding availability of work-study positions. $1,650 per credit and includes the cost of CJC room rental. Private lessons are scheduled on a to-be-arranged Code of Academic Integrity basis between student and teacher. All fifteen hours Academic integrity is central to forwarding the mission, of private instruction must be completed within the goals and objectives of the California Jazz Conservatory. semester in which the student is enrolled. The CJC is committed to providing an environment conducive to all aspects of teaching and learning. CJC Scholarships and Prizes students are held to the highest moral and ethical The CJC awards unsolicited partial scholarships and prizes standards and are obligated to conduct themselves in on occasion to qualified students based on a combina- a manner consistent with the principles as stated in the tion of artistic merit, financial need and the particular Code of Academic Integrity as follows: needs of the program at the time of inquiry. Students must maintain a cumulative GPA of 3.0, and earn a C or higher The Code of Academic Integrity prohibits students from in all classes, to remain eligible for scholarships. Note: engaging in any acts of academic dishonesty whatsoever students receiving a scholarship who earn a non-passing including but not limited to: plagiarizing; lying; cheating; grade of C– or lower in any required courses are respon- and/or fraud. Under the Code of Academic Integrity: sible for retaking those courses at their own expense. Plagiarizing is defined as taking ownership of the work or idea of another as one’s own without crediting the source. The following scholarships and prizes are awarded to CJC students who demonstrate a combination of artistic Lying is defined as making a false statement which is promise, commitment to excellence, and financial need intended to deceive. course descriptions on an as-available basis: Cheating is defined as benefitting from acting dishon- • The Jamey Aebersold Scholarship estly or unfairly. Established in honor of Jamey Aebersold, one of the Fraud is defined as serving as an impostor for personal world’s leaders in jazz education and performance, gain. the Jamey Aebersold Scholarship provides financial support for promising CJC students. All alleged infractions of the Code of Academic Integrity • The William E. Robinson Scholarship should be reported to the Dean of Instruction in writing. The William E. Robinson Scholarship is awarded to a The Dean of Instruction, together with the student’s CJC student who demonstrates commitment to instructor, will thoroughly review the allegations for their excellence in the fields of jazz and related styles of music. veracity, and based on their findings, will determine the appropriate action. Proof of violation of the Code of • The Sy Grossman Family Scholarship Academic Integrity will result in either reprimand and a A scholarship fund created in loving memory of CJC loss of credit for the assignment, loss of credit for the board member, jazz pianist and dear friend Seymour course, suspension for one year, or permanent dismissal, Grossman. depending on the seriousness of the offense. Students • East Bay Center for the Performing Arts Scholarship found in violation must meet with the Dean of Instruction A scholarship established by the California Jazz in person at which time they will be given a written notice Conservatory in conjunction with East Bay Center for citing the infraction and consequences of the offense. the Performing Arts to provide graduates of the |Any academic and/or financial penalties will apply as of Young Artist Diploma Program with partial scholar- that date. ships to attend the California Jazz Conservatory degree program in Jazz Studies. Please note: In the case of suspension, a student is • The Dick Hindman Prize in Jazz Piano required to reapply for admission into the program as a First, second and third place prizes are awarded new student (see under Admission Requirements). In the annually to three current California Jazz Conservatory case of dismissal, a student may not reapply for admis- students who demonstrate excellence in jazz piano. sion into the program. Violation of the Code of Academic The Dick Hindman Prize in Jazz Piano was established Integrity that results in either suspension or dismissal will in 2018 by Jacquelin and Sheafe Ewing in honor of be permanently attached to a student’s transcript. revered San Francisco Bay Area jazz pianist and teacher Dick Hindman. Code of Conduct The California Jazz Conservatory is committed to providing our collegiate community of students, faculty and staff with an environment conducive to the freedom to teach and to learn — a setting that promotes intellectual freedom, nurtures individual creativity and self-expression and is free from discrimination of any kind. 10 11 GENERAL INFORMATION

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

All alleged infractions of the Code of Conduct should be Academic Suspension — A student on academic probation reported to the Dean of Instruction in writing. The Dean whose current semester grade point average falls below 2.0 of Instruction, together with the student’s instructor, will will be suspended for one year and must reapply for thoroughly review the allegations for their veracity, and admission into the program as a new student (see under based on their findings, will determine the appropriate Admission Requirements). action. Proof of violation of any aspect of the Code of Academic Dismissal — A student who is suspended for

course descriptions Conduct will result in either reprimand, probation for the remainder of the semester and subsequent semester, the second time will be dismissed and may not reapply suspension for one year, or permanent dismissal, depend- for admission into the program. ing on the seriousness of the offense. Students found in violation must meet with the Dean of Instruction in person Please note: Students must maintain a minimum cumulative at which time they will be given a written notice citing the grade point average of 2.0 to be eligible for payment plans infraction and consequences of the offense. Please note: or scholarship. Academic and financial penalties (see under Cancellations, Withdrawals and Refunds and Adding, Dropping and Housing Withdrawing from Courses) will apply as of the date of the The CJC is located within easy walking distance of a number written notice. Please note: In the case of suspension, a of student-friendly apartment complexes in downtown student is required to reapply for admission into the Berkeley and the nearby vicinity and is also easily accessible by program as a new student (see under Admission Require- BART for students who wish to live outside of the city. There ments). In the case of dismissal, a student may not reapply are no living accommodations available through the California for admission into the program. Violation of the Student Jazz Conservatory at this time. The CJC is not responsible for Code of Conduct that results in either suspension or finding or assisting a student in finding housing. CJC students dismissal will be permanently attached to a student’s are responsible for making arrangements for their own transcript. housing. As of January 2016, average monthly apartment rent in Berkeley ranged from $1,945 for a studio; $2,200 for a Students enrolled in the CJC are held to the highest one-bedroom; and $3,175 for a two-bedroom apartment. standards of conduct and must obey federal, state and local laws. International Students The California Jazz Conservatory is authorized to issue the Academic Standing F-1 student visa. For information on how to obtain the F-1 Undergraduate students are classified as either Lower or student visa, please visit https://www.ice.gov/sevis. Upper Division. The CJC does not vouch for student status or any associated Lower Division students include: charges. Freshman — Students who have completed 0 – 34 Please note: International students are required to submit credits of passing work. an application along with a high school transcript, college Sophomore — Students who have completed 35 – 68 transcripts (if applicable), two letters of recommendation, a credits of passing work and have passed their TOEFL score (see under 7. on page 8), and a playing sample in freshman jury. the form of a DVD. International students are also required to do a live audition and take the Ear Training and Sight Singing and Jazz Theory and Improvisation Placement Exams upon their arrival at the CJC.

12 13 FINANCIAL AID

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

Subsidized Direct Loan Program — Students FEDERAL SOURCES OF FINANCIAL AID with calculated financial need may borrow under (GRANTS, LOANS AND WORK STUDY) the Subsidized Direct Loan Program. Under the Subsidized Direct Loan Program, the federal Grants government pays the interest on the loan while A grant is a financial award that does not have to be students are in school and during their grace period. repaid. The following grants are available through the Note 1: students must be enrolled at least half-time US Department of Education (USDE): to be eligible for the Subsidized Direct Loan Program. Note 2: A student’s EFC is taken into consideration when determining his/her eligibility for a Subsidized • Federal Pell Grants Direct Loan. For the 2018–2019 Award Year, the projected maximum Federal Pell Grant amount is $6,095. Awards are need-based and will vary based on the Unsubsidized Direct Loan Program — Students student’s EFC and the student’s enrollment status with no calculated financial need may borrow under (see Enrollment Definitions below). Note: students the Unsubsidized Direct Loan Program. The interest who are enrolled less than half-time may be eligible rate is the same, but unlike the Subsidized Direct Loan for Pell Grants. Program, the government does not pay the interest on the loan. Students have the option of paying the interest while in school, or having it added to their Enrollment Definitions (per semester) principal when they graduate or cease being enrolled Full-time enrollment: 12 credits or more on at least a half-time basis. Note 1: Students must Three-quarter enrollment: 9–11 credits be enrolled at least half-time to be eligible for the Unsubsidized Direct Loan Program. Note 2: A Half-time enrollment: 6–8 credits student’s EFC is not taken into consideration when Less than half-time determining his/her eligibility for an Unsubsidized enrollment: 1–5 credits Direct Loan; however, any other aid received is a consideration (for example, if the student is eligible • Federal Supplemental Opportunity Grant (FSEOG) to receive a Subsidized Direct Loan or a Pell Grant). The Supplemental Opportunity Grant (FSEOG) is for those students who demonstrate exceptional financial need. Funds are extremely limited; Federal Pell Grant recipients take priority. Award amounts vary between $100 – $250 per academic year.

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

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

Credits Subsidized Total (subsidized completed & unsubsidized

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

12 13 FINANCIAL AID

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

Credits Subsidized Total (subsidized completed & unsubsidized

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

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

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

Students must maintain a cumulative GPA of 3.0, and If a student obtains a loan to pay for an educational earn the grade of C or higher in all classes, to remain program, the student will have the responsibility to eligible for scholarships. Note: Students receiving a repay the full amount of the loan plus interest, less scholarship who earn a non-passing grade of C- or lower the amount any refund. If a student has received in any required course(s) are responsible for retaking federal student financial aid program funds, the those courses at their own expense. student is entitled to a refund of moneys not paid from federal student financial aid program funds. To inquire about availability of CJC scholarships, please contact the Registrar at [email protected]. Loan Fees At each disbursement the Department of Education Additional Resources for Parents deducts a fee. The loan fee for Direct Loans (Subsidized Parents and students can use a variety of resources to and Unsubsidized) is 1.066% for loans on or after 10/1/18 cover their Educational Expenses such as: and before 10/1/17; the fee for the PLUS loan is 4.264% • PLUS Loans (dependent students only). for loans on or after 10/1/16 and before 10/1/17. • Student’s Financial Aid Package (including loans, grants, and Federal Work Study). Please communicate with your son/daughter.

14 15 FINANCIAL AID

• The CJC In-House Payment Plan the FAFSA website to access their IRS tax return by using • Outside scholarships the IRS Data Retrieval Tool (DRT). This step links their FAFSA to the appropriate federal tax return and enters • Tax-free accounts and tax benefits plans (Coverdell the information for them. and 529 Plans)

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

HOW TO APPLY FOR FEDERAL FINANCIAL AID HOW FINANCIAL AID IS DETERMINED course descriptions

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

The FSA ID is used to sign legally binding documents The CJC Financial Aid Office creates an annual budget electronically. It has the same legal status as a written for each student based on the following costs: signature. Besides being used for completing the FAFSA, • Tuition and Fees students can also use their FSA ID for signing their Master • Room & Board Promissory Note (MPN) and for completing Loan Entrance Counseling (a requirement for loan borrowers). • Transportation • Books & Supplies Note: parents of dependent students (those students • Loan Fees living at home) will need their own FSA ID if they want to sign their son’s or daughter’s FAFSA electronically. If • Personal/Miscellaneous Expenses parents have more than one child attending college, they can use the same FSA ID to sign all applications. If there are unusual expenses (for example, unusual medical expenses, child care, etc.), the Financial Aid Completing the FAFSA Office can, with adequate documentation, make To apply for federal student aid, students must complete adjustments to an individual student’s budget. Note: the FAFSA at www.fafsa.ed.gov. Students will need to again, this can only be done on a case-by-case basis. include the CJC School Code: 042376. The school code authorizes the ED to send students’ FAFSA information The Financial Aid Office calculates budgets for both to the CJC. dependent students (those students living at home) and for independent students (those students not living at When completing the FAFSA, students (and their parents home). This information is initially derived from the if students are dependent) will be asked to provide student’s FAFSA. federal tax return information for the previous tax year. The easiest (and recommended) way to do this is to allow Note: A student’s total financial aid may not exceed the student’s COA. 14 15 FINANCIAL AID

STUDENT BUDGETS Students must then print a copy, sign it and return it to the CJC Financial Aid Office before their financial aid can Tuition and Fees be finalized. Tuition for the 2018–2019 academic year is as follows: • Application fee (a one-time fee, new students only): Note: Although loans will not be certified by the CJC $100 Financial Aid Office until the student’s award letter has been signed and returned (and, if selected, verification • Registration fee (all students): $50 / semester completed), students will still be able to decline or • Full-time students (taking 12 or more credits per reduce their loan amounts up to 14 days after the semester): $9,500, instrumentalists; $9,800, vocalists disbursements have been received by the CJC and • Part-time students (taking 11 or fewer credits posted to their student account. When the CJC receives per semester): $750 / credit the loan funds, the business office will send students an email notification of the amounts and date posted, with • Private instruction/Individual Tutorial: $1,650 per credit information on how to change their loan amounts. • Trio ensembles: $1,100 per credit Loan Entrance Counseling The Financial Aid Offer Letter Students who are first time loan borrowers at the After the CJC Financial Aid Office receives a student’s California Jazz Conservatory must complete Loan FAFSA, it will determine the maximum eligibility for Entrance Counseling at studentloans.gov. financial aid and send them a Financial Aid Offer Letter. The Offer Letter will list what types of financial aid are Master Promissory Note available to students. Students have the option of either If students have never had a student loan before (or accepting or declining any of the awards listed or even within the last 10 years) and wish to accept one, they requesting a lower amount in loans if they choose. must complete the Master Promissory Note (MPN) at studentloans.gov. course descriptions

The following table shows California Jazz Conservatory tuition and fees for the 2018 – 2019 academic year for a continuing full-time instrumental student taking 12 –18 credits per semester. Note: vocalists add $300/semester.

Category Fall Semester Spring Semester Annual Total

Tuition $9,500 $9,500 $19,000 Reg. Fee $50 $50 $100 Total $9,550 $9,550 $19,100

Non-CJC Expense Estimates for Students — For the purposes of determining eligibility for Federal Financial Aid, the Financial Aid Office uses the following estimates based on California Student Aid Commission (CSAC) Student Expense Budgets for 2018– 2019. Note: these costs are estimates only.

With Parents Off Campus Housing

Category Semester Annual Semester Annual

Books & Supplies* $959 $1,917 $959 $1,917 Room & Board $2,709 $5,418 $6,890 $13,779

Transportation $554 $1,107 $626 $1,251

Personal / Misc. $1,629 $3,258 $1,458 $2,916

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

*Note: See cost of lab fees for the concentration in Audio Production, pg. 10. 16 17 FINANCIAL AID

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

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

After 2018 – 2019 Disbursement Schedule Year 1 17% 23 22 Year 2 33% 45 45 Fall Semester Year 3 50% 68 67 Pell Available for Books 08/13/2018 Year 4 67% 91 89 First Day of Instruction 08/20/2018 Year 5 83% 113 112 Last Day to Add / Drop a Class 09/02/2018 Year 6 100% 136 134 Disbursement Date 09/07/2018 Excess Funds available to students 09/21/2018 Financial Aid Warning and Ineligibility Students who have been placed on Financial Aid Spring Semester Warning will have one academic semester to remediate any deficiencies and may continue to receive additional Pell Available for Books 01/05/2019 aid during that academic semester. First Day of Instruction 01/15/2019 Last Day to Add / During the warning period, the student will be expected Drop a Class 01/27/2019 to correct the previously identified deficiencies and to successfully complete all courses enrolled in during that Disbursement Date 02/01/2019 period. Excess Funds available to students 02/15/2019

16 17 FINANCIAL AID

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

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

18 19 FINANCIAL AID

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

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

18 19 POLICIES

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

Withdrawal — A student who wishes to The CJC shall issue or credit refunds within 45 calendar permanently withdraw from the CJC must file a With- days of a student’s cancellation, withdrawal or comple- drawal Form with the Registrar. Withdrawal Forms are tion of the program. available from the Registrar in the Main Office. The notice to permanently withdraw will be considered effective no Upon a student’s failure to pay a debt owed to the CJC, later than the date it is received by the Registrar. permission to register for the forthcoming semester may Permanent withdrawal may be effectuated by a student’s be withheld. The CJC also reserves the right to withhold written notice or by a student’s conduct, including, but a student’s transcript until the debt and all costs not necessarily limited to, a student’s lack of attendance associated with collecting it are paid in full. (see under Code of Conduct and Attendance). Leaves of Absence All financial and academic penalties apply as of the date Students who wish to take a temporary leave of absence the notice to permanently withdraw is received by the between semesters for professional, medical or personal Registrar (see under Refunds below, and Adding, reasons must submit a request in writing to the Dean of Dropping and Withdrawing from Courses). Exceptions Instruction. Leaves of absence may not exceed two may be made for family or medical emergencies with consecutive semesters without permission from the Dean valid documentation. Please note: Students who have of Instruction. Leave of Absence Request forms may be permanently withdrawn and subsequently wish to return obtained from the Registrar in the Main Office and must to the CJC must reapply for admission as a new student be submitted to the Dean of Instruction prior to the first (see under Admission Requirements). day of instruction of the semester for which the leave is requested. Refunds — New students who cancel the Enrollment Agreement within the aforementioned timeframe may Students who wish to take a leave of absence from the obtain a 100 percent refund of charges paid less the CJC during a semester are subject to all academic and Application Fee ($100), Registration Fee ($50) and financial penalties (see under Cancellations, Withdrawals Enrollment Deposit ($100). Returning students who and Refunds and Adding, Dropping and Withdrawing cancel the Enrollment Agreement within the aforemen- from Courses) as of the date of the requested leave of tioned timeframe may obtain a 100 percent refund of absence. Exceptions may be made for family or medical charges paid less the Registration Fee ($50) and emergencies with valid documentation. Enrollment Deposit ($200). Students taking a leave of absence for more than two Refunds for students who withdraw during a period of semesters must reapply for admission as a new student attendance are calculated as follows: Students who have (see under Admission Requirements). completed 60 percent or less of the period of attendance shall receive a refund calculated on a pro rata basis. Attendance Refunds shall be calculated based on the total amount Students must attend all class meetings, rehearsals and owed by the student for the portion of the educational performances on a timely basis, barring illness or family program completed as of the date of receipt of the emergency. Chronic tardiness or failure to attend class notice of cancellation or withdrawal. regularly may adversely affect student grades; please see individual class syllabi for attendance policies specific to each course. 20 POLICIES

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

21 POLICIES

Credit for Prior Experiential Learning In vocal performance classes, one hour of credit is Students entering the CJC may bring with them given for one 60-minute period of supervised instruc- a wealth of prior, non-college experiential learning in the tion. Vocal performance classes meet for a total of 3 hours field of jazz performance. Recognizing the value of these per week (3 hours supervised). Vocalists earn 3 hours of experiences, the CJC offers students the opportunity to credit for each 15-week semester of classroom work earn credit in private instruction and/or performance, plus a final exam in the form of a public performance. based on their performance and recording portfolio. • Private Instruction Credit for prior experiential learning is granted only to Private Instruction is defined as a course in a one-on-one matriculated students. The amount of credit is deter- format focusing on technique on an instrument or voice. mined and documented in writing by CJC faculty with Private Instruction faculty also prepare students for their relevant credentials. Of the first 60 semester credits, no annual juries. Students must complete fifteen 1-hour more than 15 may be awarded for prior experiential lessons within each given semester to earn one credit. learning; of the second 60 semester credits, no more than Note: Private instruction may not extend beyond the 15 semester credits may be awarded for prior experiential immediate 15-week semester. learning. The maximum number of credits awarded for prior experiential learning is 30. • Independent Study Independent Study is defined as time spent indepen- Credit is not granted based on the student’s experiences dently completing a proposed research project that per se, but rather on the student’s ability gained through extends above and beyond the parameters of the their experiences. Credit granted for prior experiential curriculum. Students are required to submit a proposal in learning must have approval from the Dean of Instruction writing to the Dean of Instruction outlining: the project and will be recorded on a student’s transcript as ‘credit scope; objectives; time frame for completion; and their for prior experiential learning.’ Students must appeal for preferred faculty advisor. In Independent Study, one hour credit for prior experiential learning via live audition or of credit is given for a minimum of one 60-minute period

course descriptions recorded playing sample. Students are not required to of research per week per 15-week semester. Students are pay for credits awarded for prior experiential learning. required to present the findings of their research to the public in the form of a paper, lecture/demonstration or Credit Hour Policies concert. The designated faculty advisor provides supervision three times throughout semester. An • Definition of Semester-Hour of Credit evaluation of the completed project is submitted to the The semester-hour of credit represents one hour of Dean of Instruction in writing. Students are graded on a classroom instruction plus a minimum of two hours of pass/no pass basis. work outside of the classroom for a period of 15 weeks. Short-term offerings are calculated on the same basis. • Workshops Workshops are defined as short-term courses or • Calculations for the Determination of Credit Hours programs in a lecture/laboratory format usually with a visiting artist. Credit hours for workshops are calculated Lecture Courses on the same basis as credit hours for lecture/laboratory Lecture course are defined as courses in a primarily courses i.e., one hour of credit is given for one 60-minute lecture-style format. In lecture courses, one hour of period of recitation/application. credit is given for one 60-minute period of recitation. Transfer Credit Lecture/Laboratory Courses Students who wish to transfer to the CJC must provide Lecture/laboratory courses are defined as courses that an official satisfactory academic record and have earned combine lecture with hands-on application of course an overall GPA of 2.0 or higher to be admitted to the material. In lecture/laboratory courses, one hour of CJC. credit is given for one 60-minute period of combined recitation and application. The CJC accepts the following courses for transfer: MUS101; MUS201; and the English Communication, Arts Laboratory Courses and Humanities, and Mathematics and Quantitative Laboratory courses are defined as courses in a primarily Reasoning General Studies requirements earned at any hands-on format. In laboratory courses, one hour of accredited institution. credit is given for two 60-minute periods of application.* The CJC also accepts up to 5 Elective credits relevant to * Please note: In instrumental performance ensembles, the program’s purposes earned at any accredited one hour of credit is given for one 60-minute period of institution. Please note: students must have earned a supervised instruction. Instrumental ensembles meet for grade of C or higher in all courses considered for transfer. a total of 2 hours per week. Instrumentalists in both small and large ensembles earn 2 hours of credit for each 15-week semester of classroom instruction plus a final exam in the form of a public performance. 22 POLICIES

NOTICE CONCERNING TRANSFERABILITY Injury Prevention OF CREDITS AND CREDENTIALS EARNED The California Jazz Conservatory places great importance AT OUR INSTITUTION on the prevention of injury resulting from activities inherent in the life of a musician. These include but are The transferability of credits you earn at the California not limited to practicing, performing and/or listening, as Jazz Conservatory is at the complete discretion of an related to both vocal and musculoskeletal health. Injury institution to which you may seek to transfer. Acceptance prevention is specifically addressed in the following of the degree you earn in Jazz Studies is also at the courses: Audio for Live Performance (required); Yoga complete discretion of the institution to which you may for Musicians (elective); Vocal Technique for Instrumental- seek to transfer. If the degree that you earn at this ists (elective); and the Alexander Technique (elective). institution is not accepted at the institution to which you Injury prevention is also addressed in instrumental and seek to transfer, you may be required to repeat some or vocal private instruction (required). all of your coursework at that institution. For this reason you should make certain that your attendance at this institution will meet your educational goals. This may include contacting an institution to which you may seek to transfer after attending the CJC to determine if your degree will transfer.

Student Grievances Students with complaints regarding their academic progress must first discuss the issue with their instructor. If the issue is not resolved to their satisfaction, they may file a grievance with the Dean of Instruction in writing. Students may contact the Bureau of Private Postsecondary Education at any time at 888.370.7589 course descriptions or complete a complaint form which can be obtained at the Bureau’s website: bppe.ca.gov.

Student Right to Privacy Matriculated students are afforded the following rights regarding access to and privacy of their personal information and educational records: 1. Students have the right to inspect and review the education record maintained by the CJC through the Office of the Registrar.

2. Students have the right to request that the Registrar correct any records they believe to be inaccurate or misleading. The Dean of Instruction shall serve as mediator should information be contested. If the Dean of Instruction deems the request to amend a record unfounded, students have the right to place a written statement in their file, documenting their position.

3. Students have the right to privacy regarding any personal information including but not limited to informa- tion provided on their application, dates of attendance, grading, scholarship awards and/or financial assistance. The CJC must have written permission on file from the student to release any information from a student’s record.

23 THE BACHELOR OF MUSIC DEGREE IN JAZZ STUDIES

BACHELOR OF MUSIC • Concentrate on a style of music they have CURRICULUM REQUIREMENTS determined to be both personally fulfilling and critically relevant to their lives as aspiring Instrumentalists — The CJC awards the Bachelor professional musicians of Music degree in Jazz Studies to instrumental students who satisfactorily complete 134 – 136 • Learn from and play with a preeminent faculty credits of study divided among: a) core music of resident and visiting Brazilian jazz artists and courses / 89 credits (pianists) / 91 credits (non- educators pianists); b) elective courses (15 credits); and c) general studies courses (30 credits). (See Curricu- • Broaden their knowledge of Brazilian culture, lum Requirements Templates for more information.) including gaining fluency in the Portuguese (Brazilian) language Vocalists — The CJC awards the Bachelor of Music degree in Jazz Studies to vocal students who • Expand their range of employment opportuni- satisfactorily complete 136 credits of study divided ties in the areas of performance and education among: a) core courses (91 credits); b) elective upon graduation courses (15 credits); and c) general studies courses (30 credits). (See Curriculum Requirements • Acquire specialized prerequisites needed for Templates for more information.) pursuing a higher degree in Brazilian jazz or in areas with relevance to Brazilian music AREAS OF CONCENTRATION and culture The California Jazz Conservatory offers areas of concentration (specialized plans of study) within • Expand their knowledge of art and culture the Jazz Studies major in Brazilian Jazz, Audio from a global perspective Production and North American Roots Music. Areas of concentration provide Jazz Studies majors • Audio Production with the opportunity to specialize in an area of With access to educational resources from one particular interest to them. (See under Curriculum of the world’s foremost recording facilities, Requirements Templates.) Fantasy Studios, located in Berkeley, California, the concentration in Audio Production is • Brazilian Jazz designed to provide instrumentalists with a Available to both instrumentalists and vocalists, practical understanding of this far-reaching and the concentration in Brazilian Jazz provides exciting field. students with the opportunity to gain a deeper understanding of and appreciation for the music The concentration in Audio Production is and culture of Brazil — from its folkloric roots critically relevant to the aspiring professional to its intersection with modern jazz. musician who will inevitably utilize the recording studio throughout their career. The concentra- With its infectious African-influenced rhythmic tion broadens the scope of the Jazz Studies underpinnings, rich European-derived harmonic major, enabling students to: and melodic language and exhilarating American jazz-based element of improvisation, Brazilian • Gain a working knowledge of the technical jazz ranks as one of the most sought-after styles aspects of the recording studio as a means of music in the world today. of achieving maximum artistic results

The concentration in Brazilian Jazz broadens • Learn from a faculty equipped with decades of the scope of the Jazz Studies major, enabling real world experience in audio production students to: • Gain expertise in both technical and music- related fields, expanding their employment options 24 BACHELOR OF MUSIC DEGREE PROGRAM

• Gain invaluable hands-on experience in Juries recording and production in world class Students are required to take four juries over the Fantasy Studios course of their studies at the CJC as they move from one class level — e.g. Freshman or Sophomore • Prepare for a higher degree in Recording Arts — to the next. The purpose of these juries is to and Sciences evaluate students’ progress in private instruction, and to confirm their mastery of the material covered Note: See page 10 for lab fees. in the CJC’s core Jazz Theory and Improvisation and Ear Training and Sight Singing curriculum. • North American Roots Music The concentration in North American Roots The timing of juries correlates with class level. Music (also referred to as North American Students must take a jury when advancing in class “traditional music”) examines the stylistic level to continue their studies at the CJC. Class development and cultural origins of our North level is determined by the total number of credits American folkloric music — from nineteenth earned towards their degree: students who have century work songs and spirituals to the present. earned between 0 and 34 credits are considered Freshmen, and so on as shown below. The concentration in North American Roots Music broadens the scope of the Jazz Studies Credits completed Class Level major by enabling students to: 0 – 34 Freshman • Concentrate on a style of music they have 35 – 68 Sophomore determined to be both personally fulfilling and 69 – 102 Junior critically relevant to their lives as professional 103 + Senior musicians

• Learn from and play with a preeminent faculty Students advancing to the next class level who do of resident and visiting traditional music artists not take or pass a jury at the end of that semester and educators will be placed on Jury Probation. While on Jury Probation, students may take classes for one • Broaden their knowledge of North additional semester, and must take and pass their American culture jury at that end of that term in order to enroll in future semesters. Students who do not pass the • Expand employment opportunities in the areas required jury at the end of their probationary of performance and education upon graduation semester will be dismissed.

• Acquire the prerequisites they need to pursue Senior Project a higher degree in North American roots music Graduating seniors must complete a Senior Project or areas with relevance to North American comprising a performance of original compositions roots music and/or arrangements in a full length concert open to the public. • Broaden their knowledge of music and culture on an international scale based on the pro- Performance found influence that the music and culture of The Jazz Studies undergraduate degree program other countries have had on the development has performance at its center. of North American Roots Music Instrumentalists are required to take a total of Residency Requirements 20 credits of performance ensembles including All instrumentalists and vocalists are required to jazz (10), Afro-Caribbean (2), Brazilian (2) and complete a minimum of 34 credits in residence elective (6). Instrumentalists may also use during their junior and/or senior year at the CJC. 4 elective credits toward performance ensembles. (See Instrumental and Vocal Curricula.)

25 BACHELOR OF MUSIC DEGREE PROGRAM

Vocalists are required to take a total of 28 credits Core Music Courses: Vocal Track of performance courses in both solo and ensem- Vocalists are required to take 91 credits of the ble formats. Repertoire covers a wide range of following Core Music Courses: 28 credits of stylisti- styles from the Great American Songbook to cally varying performance ensembles over eight contemporary jazz, world and popular music. semesters including: Vocal Performance (24 credits); Vocalists may also use 4 elective credits toward and Vocal Jazz Ensemble (4 credits). Note: performance ensembles. (See Instrumental and 4 additional performance credits may be taken Vocal Curricula.) as elective courses. Additional required courses include: Ear training and Sight-singing (12 credits); Public performance is an integral component of Keyboard Proficiency (2 credits); Jazz Theory students’ tenure at the CJC. Students perform and Improvisation (12 credits); Jazz Composition for the public a minimum of twice per year. (3 credits); The Great American Songbook Performances include concerts at the CJC, (2 credits); Lyric Writing (2 credits); Western dates at clubs throughout the Bay Area, and European Harmonic Practice (6 credits); Western appearances at specially scheduled events. European Music History (6 credits); Music Technol- ogy (5 credits); Business of Music (4 credits); Private Additionally, students may attend over one Instruction (8 credits); and Senior Project (1 credit). hundred concerts scheduled at the CJC throughout the year free of charge. The CJC Concert Series Electives features a range of local, national and international All students are required to complete 15 credits artists. Visiting artists of note have included the of elective courses in fulfillment of requirements Heath Brothers, Theo Bleckmann, Kenny Werner, for the Bachelor of Music degree. Students may Taylor Eigsti, Peter Erskine, Quartet San Francisco, transfer up to 5 degree-relevant elective credits Pete Escovedo, Paula West, John Zorn, Geoffrey from any accredited institution on a by-approval Keezer, Ambrose Akinmusire and many others. basis by the Dean of Instruction. Note: 4 elective credits may be taken as Independent Study; Core Music Courses: Instrumental Track 4 elective credits may be taken as Performance. Instrumentalists are required to take 91 (non- pianists) / 89 (pianists) credits of the following Core General Studies Courses Music Courses: 20 credits of stylistically varying A range of General Studies courses is offered at performance ensembles over eight semesters the CJC. The CJC also accepts select General including: Jazz Repertoire Ensemble (8 credits of Studies requirements/electives from any accredited PRF100-400 series); Latin American Ensemble institution. Tuition for General Studies courses at (2 credits of PRF030 series); Brazilian Jazz ensemble other institutions is additional. (2 credits of 040 series); Indian Ensemble (2 credits of 050 series); and ensembles of their choice All students are required to take 30 credits of General (6 credits). Note: 4 additional credits may be taken Studies courses. General Studies requirements as Elective courses. Additional required Core include: English Communication (6 credits); Social courses include: Ear Training and Sight-Singing Sciences (12 credits); Arts and Humanities (6 credits); (12 credits); Keyboard Proficiency (2 credits); Jazz Mathematics and Quantitative Reasoning (3 credits); Theory and Improvisation (15 credits); Form and and Physical Sciences (3 credits). (See Department Analysis of Jazz Standards (2 credits); Jazz Composi- of General Studies beginning on page 50.) tion (3 credits); Jazz Arranging (3 credits); Latin Please note: the Social Sciences and Physical American Roots of Jazz (2 credits); Jazz and Sciences General Studies requirements are not Cross-Cultural Practice (2 credits); Western European transferable from another institution. These Harmonic Practice (6 credits); Western European requirements must be fulfilled at the CJC. Music History (6 credits); Music Technology (5 credits); Business of Music (4 credits); Private Instruction (8 credits); and Senior Project (1 credit).

26 ASSOCIATETHE ASS0CIATE OF ARTS DEGREE PROGRAM OF ARTS DEGREE IN JAZZ STUDIES

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

27 ASSOCIATE OF ARTS DEGREE PROGRAM

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

Vocalists are required to take 12 credits of Vocal Vocalists – Vocalists are required to complete Performance. Repertoire covers a wide range of 2 credits of elective courses in fulfillment of styles, from the Great American Songbook to requirements for the A.A. degree. Students may contemporary jazz. Vocalists may use 2 Elective transfer up to 2 degree-relevant elective credits credits toward performance ensembles. from any accredited institution on a by-approval basis by the Dean of Instruction. Students perform for the public a minimum of twice per year. Performances include concerts at General Studies Courses the CJC, dates at clubs throughout the Bay Area, Students are required to take 18 credits of General and appearances at specially scheduled events. Studies courses. General Studies requirements include: English Communication (6 credits) and Additionally, students may attend concerts Social Sciences (12 credits). (See Department of scheduled at the CJC throughout the year, free of General Studies, page 50.) charge. The CJC Concert Series features a range of local, national and international artists. The CJC accepts the English Communication General Studies requirements from any accredited Core Music Courses: Instrumental Track institution. Tuition for General Studies courses at Instrumentalists are required to take 44 (non- other institutions is additional. Note: the Social pianists) / 42 (pianists) credits of the following Core Sciences requirement is not transferable from Music Courses: 12 credits of stylistically varying another institution. This requirement must be performance ensembles over four semesters fulfilled at the CJC. including: Jazz Repertoire Ensemble (4 credits of PRF100-400 series); Latin American Ensemble Keyboard Proficiency (2 credits of PRF030 series); Brazilian Jazz ensemble All students must demonstrate a basic level of (2 credits of 040 series); Indian Ensemble (2 credits keyboard proficiency to graduate, either by of 050 series); and an ensemble of their choice (2 completing Beginning Piano for Non-Pianists credits). (Note: Students may also use 4 Elective and Jazz Piano for Non-Pianists, or by passing credits toward Performance.) Additional required an equivalent keyboard proficiency exam. Core courses include: Ear Training and Sight-Sing- ing (12 credits); Keyboard Proficiency (2 credits); Workshops and Master Classes Jazz Theory and Improvisation (12 credits); Music Students have the opportunity to attend a broad Technology (2 credits); and Private Instruction range short-term workshops – two, free of charge (4 credits). – taught by local and visiting artists throughout the year. Students may schedule private lessons with Core Music Courses: Vocal Track visiting artists on a to-be-arranged basis between Vocalists are required to take 48 credits of the student and artist. following Core Music Courses: Vocal Performance (12 credits); (Note: Students may use 2 Elective credits toward Performance.) Additional required courses include: Ear training and Sight-singing (12 credits); Keyboard Proficiency (2 credits); Jazz Theory and Improvisation (12 credits); The Great American Songbook (2 credits); Lyric Writing (2 credits); Music Technology (2 credits); and Private Instruction (4 credits).

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Course Numbering MUS104 The 100- and 200-numbered courses are lower Drum Set Technique for Non-Drummers division courses. The 300- and 400-numbered 2 credits, 2 hours lecture/lab courses are upper division courses. Basic drum set technique as applied to jazz and related styles of music. All instruments and voice. MUSICIANSHIP MUS105 MUS100A, MUS100B, MUS200A Introduction to Mallet Percussion and MUS200B 1 credit, 1 hour lecture/lab Ear Training and Sight-Singing A hands-on introduction to the fundamentals 3 credits, 3 hours lecture/lab of mallet percussion technique. Topics covered A four-semester course designed to develop aural include basic types and styles of strokes, bar and visual perception of rhythmic, melodic and placement, and vibraphone pedaling and harmonic components of music. Course material dampening, as applied to both two- and four- is jazz-based. mallet playing. Prerequisites: MUS101 or equiva- lent. No prior stick technique required. MUS101 Keyboard Proficiency — MUS201 course descriptions Piano for Non-Pianists Keyboard Proficiency — 1 credit, 1 hour lecture/lab Jazz Piano for Non-Pianists Entry-level keyboard technique for non-pianists 1 credit, 1 hour lecture/lab covering scales, reading and playing basic An introduction to jazz piano technique addressing repertoire. Serves as prerequisite for MUS201. voicings, voice leading, soloing and comping, as applied to standard jazz repertoire. Useful for MUS102 composing and arranging. Prerequisites: MUS101 Individual Tutorial or consent of instructor. 1 credit, 1 hour lecture/lab Individual supplemental instruction in a wide range MUS202 of areas, including but not limited to a secondary Sight Reading Workshop instrument, musicianship, theory, harmony, 1 credit, 1 hour lab composition, arranging and history. Students A lab focusing on developing sight reading may take up to 4 elective credits of MUS102. skills relevant to the jazz music genre. Open Please note: MUS102 may not substitute for to instrumentalists and vocalists. a requirement.

MUS103 Introductory Music Theory and Ear Training 3 credits, 3 hours lecture/lab An introductory elective course taken on a pass/no pass basis designed to strengthen knowledge of music theory and aural skills. Successful completion of this course qualifies students for enrollment in THE100A and MUS100. Highly recommended for drummers and vocalists.

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MUS204 MUS300A and MUS300B The Application of Eurhythmics Advanced Musicianship to Jazz Repertoire 3 credits, 3 hours lecture/lab 2 credits, 2 hours lecture/lab A continuation of MUS200B. Designed to further Interpreting distinct rhythmic and melodic aspects develop aural and visual perception of advanced of select repertoire through coordinated physical rhythmic, melodic and harmonic material. Includes movement and the voice. Instrumentalists and sight singing, sight reading, rhythm, interval and vocalists gain a deeper understanding of the chord recognition, and transcription. rhythmic and melodic underpinnings of significant Prerequisite: MUS200B. jazz and related repertoire to facilitate performance. Students are advised to wear comfortable clothing MUS308 to class. Drum Grooves and Solos in Odd Meters 2 credits, 2 hours lecture/lab MUS205 A class focusing on grooves and solos over odd Chart Reading Workshop for Drummers and mixed meters as applied to jazz and funk 3 credits, 3 hours lecture/lab genres. Students study approaches embodied A hands-on workshop for drummers designed to by groups including Dave Brubeck, Mahavishnu develop proficiency in sight reading and interpret- Orchestra, Dave Holland, Sting, Brad Mehldau ing standard lead sheets and drum charts for both and the Pat Metheny Group among others. large and small ensemble. Students work with pre-recorded jazz, funk, Latin, pop, rock, fusion MUS309 and show arrangements. Covers articulations, Fusion Drumming Styles and Techniques set-ups, fills, tempo modulation, negotiating stick 2 credits, 2 hours lecture/lab changes and utilizing the click track. Fusion drumming styles and techniques from the sixties to the present. Students learn the stylistic MUS207 and technical approaches utilized by fusion masters Double Bass Ensemble Workshop Tony Williams, Steve Gadd, Dave Garibaldi, 2 credits, 2 hours lecture/lab Bernard Purdie, Peter Erskine, Billy Cobham, Clyde A course designed to develop technical Stubblefield, Alex Acuna, Steve Smith among facility through select repertoire for double others who blended the power of rock, the bass ensemble. syncopation of funk and the finesse and technique of jazz into their respective personal styles. MUS208 Techniques include odd meters, linear drumming, Gypsy Jazz Guitar Styles and Techniques funk independence and the all-important ghost 2 credits, 2 hours lecture/lab notes. Analysis and practical application of the stylistic and technical aspects of gypsy jazz guitar style MUS110 from Django Reinhardt to the present. Vocal Technique for Instrumentalists An acoustic guitar (played with a pick) 1 credit, 1 hour lecture/lab is required. An introduction to vocal technique and song interpretation. Repertoire includes the MUS209A and MUS209B Great American Songbook and standard Practical Applications for the Rhythm Section and contemporary jazz. Covers basic stage 2 credits, 2 hours lecture/lab presence and microphone technique. A two-semester hands-on, interactive course for Instrumentalists may take up to 2 credits pianists, guitarists, bassists and drummers focusing of Vocal Technique for Instrumentalists. on rhythmic considerations relevant to the rhythm section. Course covers the role of the individual and the rhythm section as applied to jazz, Afro- Caribbean, South American and World music styles past and present.

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MUS150 MUS250 Introduction to North Indian Tabla North Indian Music Fundamentals 2 credits, 2 hours lecture/lab Through Voice An introductory course focusing on proper posture, 2 credits, 2 hours lecture/lab tone production and hand and finger techniques A general overview of the styles, forms and required for the practice of Indian percussion. practices of the traditional North Indian vocal tradi- Students learn the fundamentals of North Indian tion. Open to both vocalists and instrumentalists, rhythmic concepts through exercises and classical this course includes participatory singing, familiar- compositions, and master complex Indian rhythmic ization with the Indian solfège system, exploration cycles through the recitation of vocal percussion of the melodic concepts of raga, and the rhythmic syllables. Soloing, arranging, and compositional concepts of tala. Prerequisites: Musicianship 100B. concepts are also applied to jazz and other styles of music. Open to instrumentalists and vocalists. MUS180 Prerequisites: Students must own or rent tabla. Roots Guitar Styles and Techniques Tabla may be purchased or rented from the Ali for Non-Guitarists Akbar College Store in Berkeley (aacmstore.org). 1 credit, 2 hours lab An entry-level course in the fundamentals of roots MUS130 guitar styles and techniques for non-guitarists. Introduction to Afro-Latin Percussion Note: This course is a requirement for non- Styles and Techniques guitarists enrolled in the concentration in North 2 credits, 3 hours lab American Roots Music. Prerequisites: Students course descriptions A hands-on introductory course focusing on Afro- must have access to a guitar. Latin percussion styles and techniques. Emphasis on rhythms specific to Afro-Latin music as applied MUS280 to congas, timbales, bongos, güiro, maracas, Traditional Fiddle Styles and Techniques chekere, and cajón, among other Afro-Latin 2 credits, 2 hours lecture/lab percussion instruments. Prerequisites: the ability to Traditional fiddle styles and techniques, including read rhythmic notation. old-time, Celtic, Cajun and bluegrass. Open to violin, viola, cello and bass. MUS240 Brazilian Jazz Guitar Styles and Techniques MUS190A and MUS190B 2 credits, 2 hours lecture/lab elective Yoga for Musicians The intersection of various styles of Brazilian music 1 credit, 1 hour lab (samba, bossa nova, baião, frevo and choro among A course for musicians to strengthen mind, body others) with jazz and their application to the guitar. and spirit. Warm-ups, stretches and posture Open to all guitarists: acoustic and electric, nylon exercises alleviate the aches and pains that can and steel string, pick and fingerstyle. result from playing; breathing techniques increase lung capacity and reduce stress; and meditation MUS241 eases performance anxiety and promotes Brazilian Jazz Bass Styles and Techniques greater awareness of the moment. 2 credits, 2 hours lecture/lab elective A hands-on course focusing on essential Brazilian jazz bass styles, including samba, partido alto, samba funk, baião, maracatu and calango. Stu- dents also learn corresponding drum patterns. Repertoire by Brazilian masters, including Jobim, Regina, Donato, Pinheiro, Bosco, Moreira, Horta, Silva and more.

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THEORY THE300B Advanced Transcription and THE100A, THE100B, THE200A and THE200B Analysis of the Jazz Masters Jazz Theory and Improvisation 3 credits, 3 hours lecture/lab 3 credits, 3 hours lecture/lab A continuation of THE300A Jazz Theory and A four-semester course covering jazz theoTHEry and Improvisation, focusing on transcription and analy- improvisation techniques and styles based on the sis of more challenging works by jazz masters. artistic practice of jazz masters, from the early twentieth century innovations of Louis Armstrong, THE301 to the contemporary artistry of Herbie Hancock and Form and Analysis of Jazz Standards beyond. Students gain a solid understanding of jazz 2 credits, 2 hours lecture/lab theory and improvisation, from the fundamentals to A course in an ensemble format focusing on form chord/scale theory, soloing, reharmonization, and and analysis of jazz standards essential transcription and analysis. Theoretical concepts are to the professional musician. Prerequisite: illustrated with select recordings of leading jazz artists THE200B or concurrent enrollment. and applied to relevant exercises and repertoire in class. This course lays important groundwork critical THE302 in the development of individual style. Polyrhythms and Odd Rhythm Groupings 2 credits, 2 hours lecture/lab THE201 The nature and history of polyrhythms and odd rhythm groupings and their application to Introduction to Jazz Transcription composition and improvisation. All instruments 1 credit, 1 hour lecture/lab and voice. Prerequisites: MUS100A and THE100A An introduction to techniques for transcribing jazz melodies, rhythms, and chord progressions. THE305 Transcribing assignments increase in level of difficulty throughout the semester. This course 21st Century Trends and Aesthetics in Jazz 2 credits, lecture — elective serves as an optional prerequisite for THE200B, Analysis of work by seminal jazz artists from 2000 which involves advanced level transcription. to the present, focusing on their signature rhythmic, harmonic and melodic innovations THE300A and artistic influences. Artists covered include Advanced Jazz Theory and Improvisation Brad Mehldau, Rudresh Mahanthappa, Gilad 3 credits, 3 hours lecture/lab Hekselman and Gretchen Parlato, among others. An introduction to the harmonic and melodic Prerequisites: THE200B and HIS200A approaches David Liebman innovated and expanded in his seminal book A Chromatic Approach to Jazz THE205A, THE205B Harmony. Beginning with John Coltrane and the Single Line Soloing for Instrumentalists second Miles Davis quintet (who independently began 3 credits, 3 hours lecture/lab developing an advanced jazz language of chromaticism A course for instrumentalists focusing on develop- in the 1960s), this course addresses the work of David ing single line soloing techniques idiomatic to the Liebman, along with Michael Brecker, Chick Corea and bebop and post-bop traditions. Includes analysis others who later that decade moved it to a new level and performance of key transcriptions of bebop of sophisticated control of consonance and dissonance and post-bop masters as well as in-class applica- that remains the gold standard for controlled harmonic tion of the fundamental devices employed in tension and release, most commonly known as ‘playing modern jazz improvisation. Prerequisites: MUS201 in and out of the changes. Prerequisite: THE200B or and THE100B. consent of instructor.

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THE315A, 315B THE251 Single Line Soloing for Vocalists Traditional South Indian Rhythmic 3 credits, 3 hours lecture/lab Concepts for the Jazz Musician A course for vocalists (or instrumentalists who wish 3 credits, 3 hours lecture/lab to participate as vocalists) focusing on developing An in-depth exploration of traditional rhythmic single line soloing techniques idiomatic to the concepts from the South Indian system of classical bebop and post-bop traditions. Includes analysis music. Through the medium of vocal percussion and performance of key transcriptions of bebop syllables known as solkattu, students are intro- and post-bop masters as well as in-class applica- duced to Indian rhythmic idioms such as tala tion of the fundamental devices employed in (rhythmic cycles), nadai (odd subdivisions of the modern jazz improvisation. Prerequisites: MUS201 beat), layakari (rhythmic modulation), and mora and THE100B. (thrice-repeated cadential phrases used to end a musical idea). Students learn traditional Indian THE330 rhythmic compositions drawn from the repertoire Latin Jazz Theory and Improvisation of classical Indian percussion instruments such 3 credits, 3 hours lecture/lab as tabla, mridangam, kanjira, ghatam, thavil, and Latin jazz theory and improvisation techniques and morsing. Emphasis is placed on pointing out the styles based on the artistic practice of Latin jazz cross-cultural applications of Indian rhythms to masters, from the early twentieth century innova- any instrument and any style of music, enriching tions of Arsenio Rodriguez to the contemporary students’ compositional and improvisational skills. artistry of Eddie Palmieri and beyond. Students course descriptions gain an understanding of Latin jazz theory and improvisation, from the rhythmic fundamentals, HARMONY including the function of clave, to chord/scale theory, soloing, reharmonization, and transcription HAR390A and analysis. Theoretical concepts are illustrated Western European Harmonic with select recordings of leading Latin jazz artists Practice from 1600 to 1820 and applied to relevant exercises and repertoire 3 credits, 3 hours lecture in class. This course lays groundwork critical Focusing on compositions from the Baroque and in the development of individual style. Classical periods, this first-semester course covers Prerequisites: THE200B or concurrent enrollment. preparatory material for the study of harmony, figured bass, harmonization of melodies, voice THE250 leading, cadences, theory of chord progression, Traditional North Indian Rhythmic chord progressions in the diatonic major and Concepts for the Jazz Musician minor, chord inversions, and an introduction 3 credits, 3 hours lecture/lab to analysis. An in-depth exploration of traditional rhythmic concepts from the North Indian system of classical HAR390B music. Through the medium of vocal percussion Western European Harmonic syllables known as bols, students are introduced Practice from 1820 to the Present to Indian rhythmic idioms such as tala (rhythmic 3 credits, 3 hours lecture cycles), layakari (rhythmic modulation), and tihai Focusing on compositional styles of the Romantic (thrice-repeated cadential phrases used to end and Contemporary Periods, this second-semester a musical idea). Students learn traditional Indian course covers formal analysis, advanced techniques rhythmic compositions drawn from the repertoire related to sequences, mixture, Neapolitan chords, of classical North Indian percussion instruments augmented 6th chords, diatonic and chromatic such as tabla and pakhawaj. This class delves into modulation, and twelve-tone techniques. the history and theory of North Indian rhythm as well as its influence on jazz over the last 50 years. Emphasis is placed on pointing out the cross- cultural applications of Indian rhythmic concepts to any instrument and any style of music, enriching students’ compositional and improvisational skills. 32 33 COURSE DESCRIPTIONS

HAR390C COM400 20th Century Harmony Jazz Composition Seminar 3 credits, 3 hours lecture 3 credits, 3 hours lecture/lab A course examining works by the major composers A continuation of COM300. A seminar addressing of western art music from the beginning of the advanced composition techniques and their 20th century to today. Analysis of the theories practical application in performance. behind various post-tonal approaches. Coursework Prerequisite: COM300 or consent of instructor. focuses on short composition exercises utilizing the various practices studied. Emphasis is on integrat- COM301A ing these tools into students’ own work. The final Jazz Arranging — Small Ensemble project is a short composition read by a profes- 3 credits, 3 hours lecture/lab sional ensemble. Prerequisites: HAR390B. Concur- A one-semester introductory course on basic jazz rent enrollment in PRF390 also recommended. arranging techniques for the small ensemble. Students learn ranges and characteristics of instru- ments, rules for notating rhythm, how to lay out a COMPOSITION score, how to write for the rhythm section, how to compose melodies and chord progressions, how COM210 to set a melody to chords, how to voice chorale-style Lyric Writing chords, how to harmonize a moving melodic line 2 credits, 2 hours lecture/lab with two to five voices, and various ways of A course focusing on the various techniques addressing form. Students are assigned three utilized by lyricists including Great American to five arranging projects. The final project is Songbook legends Lorenz Hart, Cole Porter and an arrangement for five horns and rhythm section Howard Dietz; vocalese wordsmiths Jon Hendricks, that is recorded. Annie Ross, Kurt Elling and King Pleasure; and popular songwriters Joni Mitchell and Sting. COM301B Students build a repertoire of original lyrics set Jazz Arranging — Large Ensemble to select instrumental works as well as their 3 credits, 3 hours lecture/lab own compositions. Open to vocalists and instru- A one-semester introductory course on basic jazz mentalists. Prerequisites: Concurrent enrollment in arranging techniques for the large ensemble. PRF110A and PRF210A required. Students review ranges and characteristics of instruments, rules for notating rhythm, how to lay COM300 out a score, how to voice chorale-style chords, and Jazz Composition how to harmonize a moving melodic line with five 3 credits, 3 hours lecture/lab voices. Through analysis of works by the masters A concentrated writing course utilizing the from Duke Ellington to Maria Schneider, students compositional styles and techniques of the master also explore different techniques for large scale composers as a point of departure in creating development of form, chord voicings for more than new work. Composers studied include Ellington, five horns and large ensemble texture and orches- Parker, Silver, Mingus, Monk, Coltrane, Hancock, tration techniques. Required text: Inside the Score, Henderson, Shorter, Brecker, Liebman, Grolnick, by Rayburn Wright. Students are assigned three Pastorius, Towner and more. Melodic, harmonic arranging projects. All assignments must be and rhythmic techniques employed in the music of completed on a program such as Finale or Mozart, Beethoven, Brahms, Debussy and other Sibelius. The final project is an arrangement for relevant past masters are also examined and full big band. Prerequisite: COM301A or consent applied to students’ work. of instructor.

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COM390 HIS100A Counterpoint Jazz History — The Roots of Jazz 2 credits, 2 hours lecture/lab and Early Jazz, Pre-1900 – 1919 Contrapuntal techniques and styles of seven- 3 credits, 3 hours lecture teenth- and eighteenth-century instrumental and This course examines the influences of West vocal music, providing a solid foundation for voice African, Caribbean, South American, Asian and leading. Includes the writing of cantus firmus, European music and culture on the development two- and three-part species counterpoint, and of jazz pre-1900, and on the early music of New combined species in three voices, in major and Orleans that became known to the world as jazz minor modes. Analysis of a range of important by 1917. The course focuses on the West African contrapuntal work including the canons, inventions conceptual approaches, practices, and cultural and fugues of J.S. Bach. conventions that form the foundation of jazz, and its origins in spirituals, blues, ragtime and other African American sacred and secular music. The HISTORY development of jazz is studied within the historical context of American social forces including Jazz History post-bellum segregation, the industrial boom and A four-semester course examining the musical and the Great Black Migration, World War I, and the cultural development of jazz, from its antecedents invention of the radio and sound recordings. in the musical cultures of West Africa, Western Europe and the New World, to the music that is HIS100B course descriptions performed internationally today. Through extensive Jazz History — Style and Culture listening, reading and discussion, students gain a in America from 1920 – 1939 solid understanding of jazz, a twentieth-century 3 credits, 3 hours lecture urban dance music that has become globally A survey of early jazz styles from the Jazz Age of celebrated as a cultural art form embodying the Prohibition era through the reign of the swing the ideals of freedom and democracy. bands and the jitterbug. The music of Louis Armstrong, Duke Ellington, Count Basie, Ella HIS100A – 200B fulfills the CJC Social Sciences Fitzgerald and many others is studied within the requirement. Please note: the Social Sciences contexts of the post-World War I economic boom, requirement is not transferable from another the Great Depression, ballrooms and big bands, institution. This requirement must be fulfilled the rise of sound motion pictures, American at the CJC. musical theater and the Great American Song- book, among other socioeconomic and cultural touchstones. Prerequisite: HIS100A.

loved jazz before your tutelage, but now I know it is my responsibility to preserve I the tradition and set the record straight for those who do not know the foundations of American music. Jazz is life and jazz is freedom. I wouldn’t have ever quite under- stood that without your many impassioned efforts. Thank you for the foundation you have given me. I won’t take it for granted and hope the fates allow you and me to continue to cross paths. With the road I’m on, I have no doubts.

— CJC student Simon Petty, reflecting on the jazz history course he took with Dr. Anthony Brown

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HIS200A HIS261 Jazz History — Style and Culture History of Funk in America from 1940 – 1959 3 credits, 2 hours lecture 3 credits, 3 hours lecture A course tracing the history of funk, the R&B-based This course explores jazz as an art form, with a genre that originated in the 1960s. Influencing a focus on the musical innovations of modern jazz wide range of musics including gospel, rock, jazz, through the beginnings of free jazz. Styles hip-hop, Afro-Caribbean and South American, funk including bebop, hard bop, funk, Latin jazz, cool also reflected the radical social change of the 60s jazz, and other styles created by Dizzy Gillespie, and 70s, including the struggles for Civil Rights, Thelonious Monk, Miles Davis, Max Roach, the Black Power, Women’s Rights, Gay Rights and the Modern Jazz Quartet, Art Blakey’s and Horace emergence of alternative cultures. Artists and bands Silver’s Jazz Messengers, Ornette Coleman and covered include Ray Charles, James Brown, Sly and many of their collaborators are examined, focusing the Family Stone, Ohio Players, Parliament Funk- on instrumental grouping, structural, harmonic and adelic, Earth, Wind and Fire, Miles Davis, Weather rhythmic creativity, and folk influences. Students Report, and Herbie Hancock’s Headhunters as well draw connec­tions between the mid-century as Bay Area-based bands Tower of Power, Cold impact of World War II, the Atomic Age and the Blood, Azteca, Sons of Champlin, Pointer Sisters, Cold War, the hegemony of television, advertising, Larry Graham and GCS, and George Duke. the burgeoning Civil Rights Movement and other historical epochs upon the evolution of jazz. HIS110 Prerequisite: HIS100B. The Great American Songbook: The Jazz Standard HIS200B 2 credits, 2 hours lecture/lab Jazz History — Style and Culture An overview of the evolution of The Great Ameri- in America from 1960 – Present can Songbook — the canon comprising American 3 credits, 3 hours lecture popular songs written originally for musical theatre This course surveys the range of idioms and and later film between 1920 –1950. Now the subgenres of post-Coltrane jazz, particularly the cornerstone of modern jazz, the repertoire of the evolution of free jazz with the AACM, the 1970s Great American Songbook arose during the decade New York Loft Scene, jazz in Europe, the music and of the Jazz Age, The Great Depression, WWII and ideas of Wynton Marsalis juxtaposed with the elec- the unprecedented economic growth that took tronic fusion music of Miles Davis and his collaborators, place in 1950s America. This singular body of work Herbie Hancock, Weather Report, Chick Corea and manifested hope, built morale, eased social others, and the return of jazz to its dance origins. barriers and reflected our country’s promise for the The steady influx of global influences from future. Students examine the lives and perform the traditional and contemporary musicians from Africa, work of the central composers of this period, Asia, and the New World continues to infuse a including Jerome Kern, Irving Berlin, George diverse range of compositional styles, forms and Gershwin, Cole Porter, Duke Ellington, Richard instruments into the jazz world. Rogers and Harold Arlen among others. Note: This Prerequisite: HIS200A. course serves as a requirement for vocalists and is a highly recommended elective for instrumentalists. Prerequisites: Concurrent enrollment in PRF110A and PRF210A required.

HIS300 Jazz and Cross-Cultural Practice 2 credits, 2 hours lecture A review of selected musical traditions of the world and their cross-cultural and intercultural application to jazz.

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HIS301 HIS309 New Orleans: The Birthplace of Jazz Jazz Oral History Methodology 2 credits, 2 hours lecture 3 credits, 3 hours lecture/lab A course tracing the musical influence of the An introduction to jazz oral history methodology. international port of New Orleans, the melting Students learn research techniques in literature pot for music innovation and cultural exchange review focusing on biographies and autobiogra- that is the wellspring of the American art form, phies; oral history methodologies including jazz. Explores the African American experience research, preparation, transcription and analysis of of cultural resilience through dance, singing and interviews; and interview, audiovisual and archival drumming traditions that fused elements from techniques and their application. In partnership various cultures with gospel, blues and the Latin with the Smithsonian Institution, students work tinge. Includes analysis of important recordings with and contribute to the collection of the as well as in-class performance of traditional and Smithsonian Jazz Oral History Program at modern New Orleans-style funeral marches, street the National Museum of American History. parades, brass bands and other music employing Prerequisite: HIS100A or consent of instructor. improvisation, syncopation, call and response and friendly competition that continue to influence HIS310 music throughout the world. The Jazz Singers 2 credits, 2 hours lecture HIS302 A history class focusing on the legendary jazz The Miles Davis Legacy singers from the perspective of the first instrument, course descriptions 3 credits, 3 hours lecture/lab the voice. Students listen to and learn about a Arguably one of the most important and influential gamut of jazz singers and their greatest contribu- figures in modern jazz, trumpet player, bandleader tions, beginning with the precursors of jazz from and innovator Miles Davis shaped virtually every work songs, field hollers, spirituals, rag and blues, facet of America’s most important art form to the “holy trinity” — Billie Holiday, Sarah throughout a recording and performing career Vaughan and Ella Fitzgerald — on to jazz today that spanned six decades. Beginning with Charlie and its future. Students learn to identify stylistic Parker’s group in 1945 until his death in 1991, nuances unique to each artist as well as becoming Miles directly influenced every important jazz familiar with the important instrumentalists movement and musician. Through his recordings supporting them. Lectures include an overview and those of his towering sidemen, this course of the social climate of each period, fostering traces the development of modern jazz from a greater understanding of how this music was bebop to cool, to hard bop to modal, to orchestral created and has evolved. Film shorts of some jazz to “time no changes,” to fusion. of the renowned artists are shown throughout the course. Students are asked to attend and HIS308 write reviews of two live jazz concerts. The Language of Hard Bop 3 credits, 3 hours lecture/lab Drawing on quintessential recordings of the 50s and 60s hard bop era, students listen to, explore and discuss selected works of hard bop masters, focusing in particular on the collaborative spirit inherent in jazz. Recordings include iconic Blue Note Records artists such as Art Blakey’s Jazz Messengers “family tree,” Miles Davis’ small groups and more. Students apply concepts characteristic of the hard bop style to in-class performance of jazz repertoire. Prerequisites: MUS200B and THE200B or permission of instructor.

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HIS330 HIS386 Latin American Roots of Jazz The Blues: From Spirituals 2 credits, 2 hours lecture to Ornette Coleman A survey of the evolution and relevance of the 3 credits, 3 hours lecture Afro-Latino roots of jazz. This course examines A course focusing on the salience of the blues, the pan-American sociopolitical circumstances that tracing its late nineteenth century origins in brought Afro-Latino music and jazz together as African-American spirituals, work songs and field branches of the same tree. Emphasis is placed on hollers to its ubiquitous role throughout the the historical development of the especially influen- historical continuum of jazz. tial music of Cuba, New York and Puerto Rico. Students listen to rare recordings from 1900 to the HIS387 present. Music is analyzed through lecture, listening Protest Songs — From the African and discussion and broadens an understanding of American Work Song to Women’s Rights jazz from both stylistic and historical perspectives. 3 credits, 3 hours lecture An historical overview of protest songs, from the HIS340 African American roots tradition (work songs, Brazilian Roots of Jazz spirituals, field hollers, moans, ring shouts and 2 credits, 2 hours lecture plantation dances) through the Civil Rights, A survey course tracing the Brazilian roots of Anti-War, Free Speech and Women’s Rights jazz — from their mid-nineteenth century African movements –– sacred and secular oral traditions and European-influenced folkloric origins to the manifesting cultural resistance and a cri de coeur mid-twentieth century emergence of the samba- for freedom and equality. derived bossa nova and beyond. HIS390A HIS370 History of Western European Music The Beatles from Antiquity to 1750 3 credits, 3 hours lecture 3 credits, 3 hours lecture An examination of the life and work of the This course traces the development of Western incomparable English rock and pop group The European art music from the 10th century through Beatles, framing the group’s career in the context the middle 18th century, focusing on the musical of the vibrant social, cultural, and political climate styles of the master composers of the Medieval, of the 1960s. Attention is given to the group’s Renaissance and Baroque periods. Emphasis on impeccable song writing, their rapid rise to the socio-economic and political conditions that fame, and their creative use of newly-available gave rise to them. technology in the recording studio. HIS390B HIS385 History of Western European Music History of American Roots Music from 1750 to the Present from 1900 – Present 3 credits, 3 hours lecture 2 credits, 2 hours lecture This course traces the development of Western A survey course on the history and cultural European art music from the middle 18th century significance of American acoustic music styles, through the twentieth century and beyond, from traditional country, blues and bluegrass, to focusing on the musical styles of the master singer-songwriter, and newgrass (progressive composers of the Classical, Romantic and bluegrass), among other contemporary Twentieth Century periods and beyond. acoustic sounds. Emphasis on the socio-economic and political conditions of each period.

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HIS390C INSTRUMENTAL PERFORMANCE History of 20th Century Music ENSEMBLES 3 credits, 3 hours lecture A sequel to HIS390B, a course tracing the lives and music of seminal 20th century composers who PRF 000 Series — Jazz Ensembles abandoned the functional harmonic conventions of the past for uncharted territory: from the 12-tone PRF100 – 400 serialism of Schoenberg to the minimalism of Glass. Jazz Repertoire Ensemble Composers examined include Debussy, Stravin- 2 credits, 3 hours lab sky, Bartók, Berg, Webern, Cage, Partch, Carter, Standard and contemporary jazz repertoire. Boulez, Takemitsu, Reich and Adams, among others. Emphasis on composers’ respective philosophical PRF101 viewpoints within the wider historical context of the Horace Silver Ensemble 20th century. 2 credits, 3 hours lab The repertoire of Horace Silver.

PRIVATE INSTRUCTION PRF201 Miles / Wayne Ensemble PRV100A, 100B, 200A, 200B, 2 credits, 3 hours lab 300A, 300B, 400A AND 400B The repertoire of Miles Davis and Wayne Shorter.

Instrumental Private Instruction course descriptions 1 credit, 1 hour lecture PRF203 Eight semesters of private instruction for Jazz Fusion Ensemble instrumentalists, one hour per week with select 2 credits, 3 hours lab faculty. The Private Instruction requirement may Repertoire by composers in the jazz fusion include up to two semesters of instruction in tradition including Chick Corea, John McLaughlin, Western European classical repertoire. Jaco Pastorius and Jean-Luc Ponty among others.

PRV110A, 110B, 210A, 210B, PRF204 310A, 310B, 410A and 410B Gypsy Jazz Ensemble Vocal Private Instruction 2 credits, 3 hours lab 1 credit, 1 hour lecture Repertoire by composers in the gypsy jazz tradition Eight semesters of private instruction for including Django Reinhardt and Stephane Grappelli vocalists, one hour per week with select faculty. among others. Open to voice, violin, viola, cello, accordion, solo guitar, rhythm guitar and bass.

had an amazing experience last night! The students in the Blue and Green I Ensembles have achieved so much in such a short time. Professors Jeff Denson and Dann Zinn, directors of the Blue and Green Ensembles respectively, are great teaching artists. Jazz today is a global art form, and Jeff and Dann did a world class job. I was deeply moved last night.

— CJC vocal student, Tatyana Dimatrova, reflecting on the end-of-semester performance by the Blue and Green Ensembles

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COURSE DESCRIPTIONS

PRF205 PRF305 Wes Montgomery Ensemble Jazz Orchestra 2 credits, 3 hours lab 2 credits, 3 hours lab The repertoire of Wes Montgomery. Open to Standard and contemporary big band literature. guitar, piano, bass, drums, and saxophone. PRF306A PRF206 Jazz Piano Trio Guitar Ensemble 1 credit, 1 hour lab 2 credits, 3 hours lab Standard and contemporary jazz repertoire. Open Jazz, Latin American and Western European to two students and one faculty: one on piano; repertoire arranged for 4 – 8 guitarists. one on bass; and one on drums. Note: The trio ensemble rate applies to this course (see page 10). PRF207 Blues and R&B Ensemble PRF306B 2 credits, 3 hours lab Jazz Guitar Trio Repertoire of blues and R&B composers from 1 credit, 1 hour lab the 1940s to the present. Standard and contemporary jazz repertoire. Open to two students and one faculty: one on guitar; PRF301 one on bass; and one on drums. Note: The trio Odd Meter Ensemble ensemble rate applies to this course (see page 10). 2 credits, 3 hours lab Repertoire in odd meters by composers PRF306C including John McLaughlin, George Duke, Jazz Organ Trio Milton Nascimento, Nguyen Le, Airto Moreira, 1 credit, 1 hour lab Esbjorn Svensson and Jeff Beck among others; Standard and contemporary jazz repertoire. Open also odd meter arrangements of jazz standards. to two students and one faculty: one on organ; one on bass; and one on drums. Note: The trio PRF302 ensemble rate applies to this course (see page 10). New Orleans Ensemble — 1920s to the Present PRF306D 2 credits, 3 hours lab Jazz Horn Trio Repertoire of composers in the early New Orleans 1 credit, 1 hour lab jazz tradition including Joe “King” Oliver, Louis Standard and contemporary jazz repertoire. Open Armstrong, and the Preservation Hall Jazz to two students and one faculty: one on horn; Band along with current funk and brass bands one on bass; and one on drums. Note: The trio coming out of the “Crescent City” including ensemble rate applies to this course (see page 10). Rebirth Brass Band, Trombone Shorty and the Dirty Dozen Brass Band. Emphasis on learning PRF307 repertoire by ear. Chick Corea Ensemble 2 credits, 3 hours lab PRF303 The repertoire of Chick Corea. Charles Mingus Ensemble 2 credits, 3 hours lab PRF308 The repertoire of Charles Mingus. Improvised Music Ensemble 2 credits, 3 hours lab PRF304 Repertoire of spontaneously composed music Art Blakey Ensemble in the jazz tradition. 2 credits, 3 hours lab The repertoire of Art Blakey.

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PRF309 PRF326 Percussion Ensemble Jazz String Trio 2 credits, 3 hours lab 1 credit, 1 hour lab Repertoire by noted composers; also features Standard and contemporary jazz repertoire. Open students’ original work. Prerequisite: Intermediate to two students and one faculty on violin, viola, hand drum and stick technique and the ability to cello or double bass. Note: The trio ensemble read rhythmic notation. rate applies to this course (see page 10).

PRF403 Pat Metheny Ensemble PRF 030 Series — 2 credits, 3 hours lab Latin American Ensembles The repertoire of Pat Metheny. PRF230 PRF405 Latin Jazz Ensemble Jazz Tentet 2 credits, 3 hours lab 2 credits, 3 hours lab Repertoire of composers in the Latin jazz tradition Arrangements for tentet: 1 alto saxophone; 1 tenor including Chucho Valdés, Rafael, René and Oscar saxophone; 1 baritone saxophone; 2 trumpets; Hernandez, Pedro Flores, Tito Puente and John 1 trombone; piano; bass; drums; and guitar. Santos among others.

PRF408 PRF231 course descriptions Original Compositions Ensemble Afro-Venezuelan Jazz Ensemble 2 credits, 3 hours lab 2 credits, 3 hours lab Repertoire composed and performed exclusively Repertoire of composers in the Afro-Venezuelan by ensemble students. jazz tradition including Aquiles Baez, Aldemaro Romero and Simón Díaz among others. PRF409 Post-Bop Ensemble PRF232 2 credits, 3 hours lab Eddie Palmieri Ensemble The repertoire of composers in the post-bop 2 credits, 3 hours lab tradition including John Coltrane, Miles Davis, The repertoire of Eddie Palmieri. Joe Henderson and Wayne Shorter, among others. PRF335 Afro-Cuban Percussion Ensemble PRF 020 Series — Strings Ensembles 2 credits, 3 hours lab The rperformance and history of traditional, PRF 120 – 420 popular and contemporary Latin American Jazz Strings Chamber Ensemble repertoire. Prerequisites: Intermediate hand 2 credits, 3 hours lab drum and stick technique, and the ability to read Repertoire of composers in the jazz strings rhythmic notation. tradition including the Turtle Island Quartet, Darol Anger, Jean-Luc Ponty, Edgar Meyer and PRF336 Evan Price among others. Open to violinists, Afro-Cuban Orchestra violists, cellists and double bassists. 2 credits, 3 hours lab The repertoire of composers in the Afro-Cuban PRF321 tradition including Tito Puente, Francisco Jazz String Quartet Aguabella, Eddie Palmieri, Machito and Tite 2 credits, 3 hours lab Curet Alonso among others. Repertoire of composers in the jazz string quartet tradition including Quartet San Francisco, the Turtle Island Quartet, Darol Ander, Jean-Luc Ponty, Edgar Meyer and Evan Price among others. Open to 2 violinists, 1 violist and 1 cellist. 42 43 COURSE DESCRIPTIONS

PRF338 PRF346A Tangos, Choros and Frevos Brazilian Jazz Piano Trio 2 credits, 3 hours lab 1 credit, 1 hour lab Repertoire of composers in the Latin American Repertoire of composers in the Brazilian jazz tradition including Astor Piazzola, Egberto tradition including Antônio Carlos Jobim, Toninho Gismonti, Jose Maria de Abreu, Toninho Horta, Horta, Chico Pinheiro, Hermeto Pascual, Dori Edu Lobo and Steve Erquiaga among others. Caymmi and Marcos Silva among others. Open Diverse instrumentation welcome! to two students and one faculty: one on piano; one on bass; and one on drums. Note: The trio PRF339 ensemble rate applies to this course (see page 10). Astor Piazzolla Ensemble 2 credits, 3 hours lab PRF346B The repertoire of Astor Piazzolla. Open to the Brazilian Jazz Guitar Trio following instrumentation: bandoneon, accordion, 1 credit, 1 hour lab harmonica or melodica, piano, double bass, drums, Repertoire of composers in the Brazilian jazz percussion, electric guitar, violin (2), cello, flute, tradition including Antônio Carlos Jobim, Toninho and clarinet. Horta, Chico Pinheiro, Hermeto Pascual, Dori Caymmi and Marcos Silva among others. Open to two students and one faculty: one on guitar; PRF 040 Series — Brazilian Ensembles one on bass; and one on drums. Note: The trio ensemble rate applies to this course (see page 10). PRF240 Brazilian Jazz Repertoire Ensemble 2 credits, 3 hours lab PRF 050 Series — Indian Ensembles Repertoire of composers in the Brazilian jazz tradition including Antônio Carlos Jobim, PRF250 Toninho Horta, Chico Pinheiro, Hermeto Pascual, Traditional North Indian Ensemble Dori Caymmi and Marcos Silva among others. 2 credits, 3 hours lab Repertoire in the North Indian music tradition PRF242 by composers including Ali Akbar Khan Choro Ensemble and Alam Khan among others. 2 credits, 3 hours lab Repertoire by composers in the choro tradition including Pixinguinha, Jacob do Bandolim, Ernesto PRF 060 Series — Blues, R&B, Funk Nazareth and Waldir Azevedo among others. and Reggae Ensembles

PRF245 PRF260 Brazilian Rhythm Ensemble Blues and R&B Ensemble 3 credits, 3 hours lab 2 credits, 2 hours lab Applied rhythms and percussion techniques from Repertoire in the blues and R&B tradition from across Brazil focusing on the history and musical the 1940s to the present. practice from three major cultural areas of Brazil: Rio de Janeiro; Salvador, Bahia; and the PRF261 northeastern state of Pernambuco. East Bay Funk Ensemble 2 credits, 3 hours lab PRF246 Repertoire of composers in the funk tradition Brazilian Jazz Guitar Ensemble including Sly and the Family Stone, Cold Blood, 2 credits, 3 hours lab Tower of Power and The Headhunters among Brazilian jazz repertoire arranged for others. 4 – 8 guitarists.

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PRF262 PRF383 Ska and Reggae Ensemble Appalachian Old-Time Ensemble 2 credits, 3 hours lab 2 credits, 2 hours lecture Repertoire of composers in the Ska, Rocksteady, Repertoire of North American traditional music and Reggae tradition including the Skatalites, the specific to the Appalachian region of the US in Upsetters, Bob Marley and the Wailers, Sly and a string band setting of fiddle, banjo, guitar, Robbie, and Roots Radics among others. Open mandolin and bass. to all instrumentalists and vocalists. PRF384 Celtic Ensemble (New) PRF 070 Series — Pop Ensembles 2 credits, 2 hours lecture Repertoire of instrumental and vocal music of the PRF370 Celtic nations (Ireland, Scotland, Wales, Brittany, Sting Ensemble Cornwall, Galicia, and the Isle of Man), incorporat- 2 credits, 2 hours lab ing traditional Celtic instruments including Celtic The repertoire of Sting from “The Police” harp, hammered dulcimer, Irish penny whistle and to the present. bodhran.

PRF480 PRF 080 Series — New Acoustic/Progressive North American Roots Ensembles Bluegrass Ensemble course descriptions 2 credits, 2 hours lecture PRF280 A sequel to PRF380, repertoire of contemporary Bluegrass Ensemble bluegrass composers including Gillian Welch, 2 credits, 3 hours lab David Grisman, Ricky Skaggs and Darol Anger. Repertoire of composers in the traditional Open to acoustic guitar, mandolin, fiddle, banjo, and contemporary bluegrass tradition acoustic or electric bass, dobro and vocals. from Bill Monroe to Béla Fleck. Open to acoustic guitar, mandolin, fiddle, banjo, acoustic or electric bass, dobro and vocals. PRF 090 Series — Western European Ensembles PRF381 Louisiana Cajun and Zydeco Ensemble PRF290 2 credits, 2 hours lecture Saxophone Quartet Repertoire of composers in the accordion-central 2 credits, 3 hours lab Cajun and zydeco traditions, originating from the Repertoire of composers from the Baroque to French-speaking Cajun and Creole communities bebop periods and beyond. Open to 1 soprano, in Southwestern Louisiana. 1 alto, 1 tenor and 1 baritone saxophone.

PRF382 PRF390 Early Blues/Jug Band Contemporary Music Ensemble 2 credits, 3 hours lab 2 credits, 3 hours lab Early American blues and roots repertoire Repertoire composed and performed exclusively post-WWI/pre-WWII (1923–1942), incorporating by ensemble students, incorporating twentieth unconventional instruments such as jugs, century composition techniques. Prerequisites: washboards, harmonicas and kazoos, along HAR390C or concurrent enrollment. with conventional instruments, including in particular, guitar and harmonica.

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PRF391 PRF219 Electronic Music Ensemble Vocal Intensive 2 credits, 2 hours lab 2 credits, lecture/lab An ensemble utilizing electronic and/or electro- A six-day workshop co-led by a select artist in acoustic instruments. Covers applied synthesis and residence and vocal program director. An explora- signal processing techniques, collaborative electro- tion of technical and stylistic considerations acoustic improvisation, scoring techniques for designed to forward personal artistic voice. unconventional instruments, and utilizing software Includes lectures, rehearsals, private instruction and/or hardware instruments in live performance. and a concert open to the public. Professional Prerequisites: Access to any electronic or electro- accompaniment provided throughout. Maximum acoustic instrument(s) such as a guitar and pedal enrollment: 10. Prerequisite: consent of vocal chair. board, keyboard synthesizer, desktop or modular synthesizer, drum machine, sampler (e.g.: Roland PRF310A 404), vocal processing and looping (hardware and/ Advanced Vocal Performance or software), iPad synthesizer apps, and a laptop 3 credits, 3 hours lecture/lab with a DAW or other sound producing software A continuation of PRF210B, focusing on (e.g.: Max/MSP, PureData, SuperCollider, VCV rack, students’ repertoire of choice. Prerequisites: stand-alone softsynths). PR210B or consent of vocal chair.

Vocal Performance PRF111A and PRF111B Vocal Jazz Ensemble PRF110A–210B 2 credits, 2 hours lab Vocal Performance Repertoire includes historic arrangements from groups including Lambert, Hendricks & Ross and 3 credits, 3 hours lecture/lab the Singers Unlimited as well as original charts and A four-semester course covering a range of styles arrangements. Emphasis on singing close harmony from the Great American Songbook to bebop, parts, sight reading, intonation and creating a modal, world, contemporary popular, and free stylistically relevant ensemble sound. Prerequisite: music. Students compose original material, write PRF110B.3, audition or by consent of vocal chair. lyrics and create their own arrangements. Accompanied by a pianist and/or rhythm section, singers focus on interpretation, stage presence, MUSIC TECHNOLOGY improvisation, vocal technique, phrasing as well as cultivating a personal style. Students are TEC100 expected to develop a repertoire of 80 songs over this four-year course. Open to vocalists Introduction to Music Technology 2 credits, 2 hours lecture/lab and instrumentalists. Prerequisites: MUS110A and An introduction to software tools available for THE100A or concurrent enrollment. sequencing, sampling, scoring/music notation, PRF215 simple recording and production. This course Brazilian Jazz Bass and Voice Duets also covers software and web-based services that assist with developing skills in basic musicianship. 2 credits, 2 hours lecture/lab elective Students must own or have access to a laptop An ensemble in duet format for bass and voice computer with Sibelius software (version 6 or focusing on iconic Brazilian jazz repertoire with higher) installed for use in class. lyrics in both English and Brazilian Portuguese. Open to vocalists only.

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AUDIO PRODUCTION AUD400A Studio Recording I 3 credits, 3 hours lecture/lab An introductory course on the fundamentals of Audio Series — Audio Engineering studio recording. Includes microphone choice and placement, console and studio signal flow, session AUD300A setup and protocol, and live recording. Discussion Digital Audio Workstation I (DAWI) and utilization of limiters, compressors, and other 3 credits, 3 hours lecture/lab signal processing equipment used in the recording An introduction to the Digital Audio Workstation process are part of in-class activities and recording (DAW), the hardware and software designed for sessions. Students’ final project consists of engi- the recording, editing and playing of digital audio neering the Live-to-2-track project. Location: files. Prerequisites: Students must own or have Fantasy Studios. Lab fee: $850. access to a laptop computer with Pro Tools software Prerequisites: AUD300A, AUD310B (version 9 or higher, or Pro Tools First) installed for use in class. AUD400B Studio Recording II AUD300B 3 credits, 3 hours lecture/lab Digital Audio Workstation II (DAWII) A course focusing on the techniques and protocols 2 credits, 2 hours lecture/lab involved in multi-track recording projects. Includes A continuation of DAW I, this course delves further analysis of advanced large-format console signal course descriptions into editing and mixing capabilities of the Digital flow and exploration of sophisticated ensemble Audio workstation. Includes advanced editing microphone techniques. Students engineer the techniques and an introduction into mixing in final project for Music Production I (sound-a-like). “In-The-Box.” Prerequisites: AUD300A. Location: Fantasy Studios. Lab Fee: $850. Prerequisites: AUD305A, AUD300B, AUD401 AUD300C Digital Audio Workstation III (DAWIII) AUD401B 2 credits, 2 hours lecture/lab Post Production I This course is an introduction into the digital 2 credits, 2 hours lecture/lab music recording and production platform Logic. An overview of the world of sound and music for Location: Classroom. Prerequisites: AUD300A. motion pictures, examining the different aspects of post-production including ADR, sound design, AUD305A Foley and film scoring among others. Mix I Prerequisites: AUD300B 2 credits, 2 hours lecture/lab An introduction to the process of mixing. Includes Audio 010 Series — Studio Technology mix setup and simple multi-track mixing as well as the history, philosophy and theory behind mixing. AUD310A Lab Fee: $600. Prerequisites: AUD300A; AUD310A Audio Technology I 2 credits, 2 hours lecture AUD305B A course in the foundational principles of digital Mix II and analog audio technology. Includes recording 3 credits, 3 hours lecture/lab consoles (design, function, and signal flow), Advanced mixing techniques including parallel principles of signal processing (reverberation, compression and automation. Covers big console delay, equalization, compression, and other and analog/digital hybrid mixing that meet industry effects), and an introduction to microphone and standards. Location: Fantasy Studios. Lab Fee: $550. loudspeaker technology. Prerequisites: AUD305A

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AUD310B Audio 020 Series — Music Production Audio Technology II 2 credits, 2 hours lecture AUD320 A continuation of Audio Technology I, this course Survey of Music Production delves further into the technical aspects of the 1 credit, 1 hour lecture recording studio. Covers microphones, advanced An investigation into every step of music produc- studio and console signal flows and block diagrams, tion. Includes an historical overview of the music and synchronization and MIDI integration. Location: production industry along with project manage- Classroom and Fantasy Studio B. Lab Fee: $600. ment and the process of creating a successful Prerequisites: AUD300A; AUD310A independent or major label release. Students analyze and evaluate the effectiveness of the AUD410 various production techniques used in producing Studio Electronics select demos and commercial recordings. 2 credits, 2 hours lecture/lab An in-depth look into the inner workings of a AUD321 recording studio, this course will explore cables Critical Listening for Audio Production and connectors, audio circuits, schematics, levels 1 credit, 1 hour lecture/lab in audio, and basic studio equipment maintenance A course designed to develop listening skills and troubleshooting. Prerequisites: AUD310B critical to the field of audio production through analysis of recording and mixing techniques. AUD411 Covers balances, panning, EQ, reverb, compres- Recording Studio Internship Program sion, delay and time-based effects, instrument (Existing as REC101 Recording Studio identification and stylistic comparisons of record- Internship Program) ing and mix techniques. Listening analysis exam- 3 credits, 2–3 days week/lab ples and concepts are reinforced through weekly In conjunction with Fantasy Studios at Zaentz critical listening assignments. Students participate Media Center, a course providing supervised in weekly ear training drills. practical training in the inner workings of a profes- sional, multi-room recording facility. Internship AUD402 training includes: Music Production I • Basic recording techniques and microphone 3 credits, 3 hours lecture/lab placement A course covering the fundamentals of music • Basic recording session design and setup production, including defining the goals of a • Signal flow theory and patching recording project with artist or client; selecting • Basic mixing console theory and application musicians, composers and/or arrangers; choosing appropriate technical resources appropriate to • Recording session etiquette the budget and goals; working with instrumental • Proper microphone and equipment handling and vocal soloists; and orchestrating and motivat- and storage ing all of the participants and resources — from • Basic studio administrative tasks rehearsal to recording, to the final mix. Students’ • Client concierge services final project consists of producing a remake of • Hospitality maintenance and cleanliness a classic song (a sound-a-like). Location: Location: Fantasy Studios Classroom/Fantasy Studios. Lab Fee: $850. Prerequisites: AUD300B; AUD400A; résumé and Prerequisites: AUD320; AUD400A consent of Fantasy Studios Internship Program Coordinator

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BUSINESS OF MUSIC BUS401 Pedagogy Techniques BUS300 1 credit, 1 hour lecture Audio for Live Performance and Recording A course focusing on pedagogy techniques and 1 credit, 1 hour lecture issues related to pedagogy. Guided by instructor An introductory overview of live performance on an individual basis, students design and present audio systems and basic recording technology a live, short-term workshop (2 hours) on a topic of providing an explanation of the signal path from their choice to the public as part of the Jazzschool the source through the microphone to its eventual Workshop Series. Students gain hands-on teaching destination of live show, loudspeaker or recording skills, expanding their employment options as media. Strategies for successful live performance professional musicians. Prerequisites: senior-year and interaction with live recording engineers are standing or consent of instructor. Please note: presented. Workshop proposals must be submitted to and approved by instructor six months prior to BUS301 presentation and a minimum of six months prior Legal Aspects of the Music Industry to planned graduation. for Jazz Musicians 1 credit, 1 hour lecture An overview of the various legal issues in the SENIOR PROJECT music industry and the manner in which the law and technology have shaped the evolution of SEN400 course descriptions the industry. Covers current legal issues faced by Senior Project jazz musicians and jazz labels and the business 1 credit/lab practices that are being developed to address Seniors prepare and present a 50-minute concert/ them. Provides an understanding of the principles project according to their particular plan of study of contract and copyright law and covers topics within the Jazz Studies degree (see below). All relevant to jazz musicians today, including the role Senior Projects are completed in conjunction with of agents and managers, live performance agree- a faculty advisor. ments, recording contracts, music publishing, • Jazz Studies (Instrumental/Vocal tracks) producer agreements, licensing music for motion A 50-minute concert of jazz and related styles of pictures, television and commercials, understand- music open to the public. Students compose and/ ing royalty statements and the distribution and or arrange repertoire, choose personnel, rehearse sale of music on the Internet. the band and market the concert. • Jazz Studies — concentration in Brazilian Jazz BUS400A (Instrumental/Vocal tracks) Marketing & Public Relations A 50-minute concert of Brazilian jazz open to 1 credit, 1 hour lecture the public. Students compose and/or arrange A one-semester course focusing on marketing repertoire, choose personnel, rehearse the band and publicity practices critical to the success and market the concert. of the professional musician. • Jazz Studies — concentration in Audio Production (Instrumental track) BUS400B A release-ready multi-track recording consisting Marketing & Public Relations of a minimum of three selections. Emphasis on 1 credit, 1 hour lecture both the technical and creative aspects of the A continuation of BUS400A, focusing on production along with market targeting. developing individualized marketing plans, utilizing Location: Fantasy Studios. current technologies, strategies and platforms. • Jazz Studies — concentration in North American Prerequisites: BUS400A Roots Music (Instrumental/ Vocal tracks) A 50-minute concert of North American roots music open to the public. Students compose and/ or arrange repertoire, choose personnel, rehearse the band and market the concert. 48 49 COURSE DESCRIPTIONS DEPARTMENT OF GENERAL STUDIES

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

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

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

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

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

50 51 COURSE DESCRIPTIONS

BERKELEY CITY COLLEGE COURSES AREA 2. ARTS AND HUMANITIES

(Requirement: 6 credits) The following suggested courses also fulfill the CJC English Composition General Studies require- ment and have been approved for transfer from Students are required to take 6 credits in the area Berkeley City College. Please note: Additional of Arts and Humanities. The following courses fulfill courses of interest may be approved on a case-by- the CJC Arts and Humanities General Studies case basis. For Berkeley City College course requirements and are offered at the CJC: descriptions and class schedules, please visit berkeleycitycollege.edu/wp/programs/ HUM100 class-schedules-and-catalogs/. What is Jazz? Requirement/Elective ENGL 1A, 1B Composition and Reading 3 credits, 3 hours lecture (4 credits) A one-semester course examining jazz in all its ENGL 5 Critical Thinking in Reading and aspects including the origins of the term, its Writing (3 credits) definitions, representations and interpretations in ENGL 100 College Composition and Reading print, photographs, film, dance and visual arts, and (3 credits) its various styles and genres from its beginnings in New Orleans to its current annual celebration globally on Jazz Appreciation Day. Students will The following suggested courses also fulfill the survey writings on jazz from critics, fans and CJC English Literature General Studies require- musicians, engage in intensive listening of repre- ment and have been approved for transfer from sentative recordings, view TV, film and documen- Berkeley City College. Please note: Additional tary segments, and participate in classroom courses of interest may be approved on a case- discussions of the subject. by-case basis. For Berkeley City College course descriptions and class schedules, please visit

berkeleycitycollege.edu/wp/programs/ class-schedules-and-catalogs/.

ENGL 50 Multicultural American Literature (3 credits) ENGL 85A Literature in English through Milton (4 credits) ENGL 85B Literature in English: Late 17th through Mid 19th Century (4 credits) HISTORY 47 Critical Thinking in History (3 credits)

52 53 COURSE DESCRIPTIONS

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

52 53 COURSE DESCRIPTIONS

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

54 55 COURSE DESCRIPTIONS

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

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

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

54 55 BACHELOR OF MUSIC DEGREE CURRICULUM REQUIREMENTS IN JAZZ STUDIES (BMJS) TEMPLATE

INSTRUMENTALISTS SEMESTER TOTALS PER REQUIRED COURSES 1 2 3 4 5 6 7 8 AREA For course titles, MUSICIANSHIPI MUS100A–200BI 3 3 3 3 12 see Guide to MUS101, 201I 1 1 2 Course Titles THEORYII THE100A–300AII 3 3 3 3 3 15 (page 61 – 63) THE301II 2 2 HARMONYI HAR390A–390BI 3 3 6 *4 credits may COMPOSITION COM300 3 3 be taken as COM301A 3 3 Independent HISTORYIII HIS300III 2 2 Study; 4 credits HIS330III 2 2 may be taken as HIS390A–390BIII 3 3 6 Performance PRIVATE INSTRUCTIONII PRV100A–400BII 1 1 1 1 1 1 1 1 8 PERFORMANCE PRF000 Series 2 2 2 2 2 10 **or comparable PRF030 Series 2 2 transfer course PRF040 Series 2 2 PRF050 Series 2 2 PRF000–090 2 2 4 MUSIC TECHNOLOGYI TEC100II 2 2 AUD300AII 3 3 BUSINESS BUS300 1 1 BUS301 1 1 BUS400 1 1 BUS401 I 1 1 ELECTIVES ELECTIVES* 1 3 3 2 2 2 2 15 ENGLISH ENG100, 102, 103** 3 3 I ENG 105,110** I 3 3 HUMANITIES HUM100,305** 3 3 6 SOCIAL SCIENCES HIS100A–200BI 3 3 3 3 12 MATHEMATICSI MAT300** I 3 3 Four-Year Total PHYSICAL SCIENCESIII SCI300III 3 3 = 136 SENIOR PROJECT SEN400II 1 1 (Pianists = 134) SEMESTER TOTALS 17 18 17 17 17 16 17 17 136

VOCALISTS SEMESTER TOTALS PER REQUIRED COURSES 1 2 3 4 5 6 7 8 AREA For course titles, MUSICIANSHIPI MUS100A–200BI 3 3 3 3 12 see Guide to MUS101, 201I 1 1 2 Course Titles THEORYII THE100A–200BII 3 3 3 3 12 (page 61 – 63) THE315A-315B 3 3 6 HARMONYI HAR390A–390BI 3 3 6 *4 credits may COMPOSITION COM210 2 2 be taken as COM300 3 3 Independent HISTORYIII HIS110 2 2 Study; 4 credits HIS390A–390BIII 3 3 6 may be taken as PRIVATE INSTRUCTIONII PRV110A–410BII 1 1 1 1 1 1 1 1 8 Performance PERFORMANCE PRF110A–210B 3 3 3 3 12 PRF111A–111B 2 2 4 **or comparable PRF000–090 2 2 2 6 transfer course MUSIC TECHNOLOGYI TEC100II 2 2 AUD300AII 3 3 BUSINESS BUS300, 301, 400, 401 2 2 4 ELECTIVES ELECTIVES* 1 1 3 8 2 15 ENGLISH ENG100, 102, 103** 3 3 ENG 105,110** I 3 3 HUMANITIES HUM100A, 305** 3 3 6 SOCIAL SCIENCES HIS100A–200BI 3 3 3 3 12 MATHEMATICSI MAT300**I 3 3 Four-Year Total PHYSICAL SCIENCESIII SCI300III 3 3 = 136 SENIOR PROJECT SEN400II 1 1 (Pianists = 134) SEMESTER TOTALS 18 17 17 16 17 17 17 17 136

56 BMJS / CONCENTRATION IN CURRICULUM REQUIREMENTS BRAZILIAN JAZZ TEMPLATE

INSTRUMENTALISTS SEMESTER TOTALS PER REQUIRED COURSES 1 2 3 4 5 6 7 8 AREA For course titles, MUSICIANSHIPI MUS100A–200BI 3 3 3 3 12 see Guide to MUS101, 201I 1 1 2 Course Titles THEORYII THE100A–200BII 3 3 3 3 3 15 (page 61 – 63) THE301II 2 2 HARMONYI HAR390A–390BI 3 3 6 *4 credits may COMPOSITION COM300 3 3 be taken as COM301A 3 3 Independent HISTORYIII HIS340III 2 2 Study; 4 credits HIS390A–390BIII 3 3 6 may be taken as PRIVATE INSTRUCTIONII PRV100A–400BII 1 1 1 1 1 1 1 1 8 Performance PERFORMANCE PRF240 2 2 2 2 2 2 2 2 16 PRF242 2 2 **or comparable PRF245 3 3 transfer course PRF100–400 2 2 4 MUSIC TECHNOLOGYI TEC100II 2 2 BUSINESS BUS300, 301 2 2 BUS400, 401 2 2 ELECTIVES ELECTIVES* 2 4 3 2 2 15 ENGLISH ENG100, 102, 103** 3 2 3 ENG 105,110** I 3 3 HUMANITIES HUM340 3 3 I HUM100,305** 3 3 SOCIAL SCIENCES HIS100A–200BI 3 3 3 3 12 MATHEMATICSI MAT300** I 3 3 Four-Year Total PHYSICAL SCIENCESIII SCI300III 3 3 = 136 SENIOR PROJECT SEN400II 1 1 (Pianists = 134) SEMESTER TOTALS 17 17 17 17 17 17 17 17 136

VOCALISTS SEMESTER TOTALS PER REQUIRED COURSES 1 2 3 4 5 6 7 8 AREA For course titles, MUSICIANSHIPI MUS100A–200BI 3 3 3 3 12 see Guide to MUS101, 201I 1 1 2 Course Titles THEORYII THE100A–200BII 3 3 3 3 12 (page 61 – 63) THE315AII 3 3 HARMONYI HAR390A–390BI 3 3 6 *4 credits may COMPOSITION COM210 2 2 be taken as COM300 3 3 Independent HISTORYIII HIS110III 2 2 Study; 4 credits HIS390A–390BIII 3 3 6 may be taken as PRIVATE INSTRUCTIONII PRV100A–400BII 1 1 1 1 1 1 1 1 8 Performance PERFORMANCE PRF110A–210B 3 3 3 3 12 PRF111A–111B 2 2 4 **or comparable PRF240, 242, 245 2 2 4 4 12 transfer course MUSIC TECHNOLOGYI TEC100II 2 2 BUSINESS BUS300 1 1 BUS301 1 1 BUS400 1 1 BUS401 I 1 1 ELECTIVES ELECTIVES* 1 1 4 4 3 2 15 ENGLISH ENG100, 102, 103** 3 3 ENG 105,110** I 3 3 HUMANITIES HUM340** 3 3 I HUM100,305** 3 3 SOCIAL SCIENCES HIS100A–200BI 3 3 3 3 12 MATHEMATICSI MAT300** I 3 3 Four-Year Total PHYSICAL SCIENCESIII SCI300I 3 3 = 136 SENIOR PROJECT SEN400II 1 1 (Pianists = 134) SEMESTER TOTALS 18 16 17 17 17 17 17 17 136

57 BMJS / CONCENTRATION IN CURRICULUM REQUIREMENTS NORTH AMERICAN ROOTS MUSIC TEMPLATE

INSTRUMENTALISTS SEMESTER TOTALS PER REQUIRED COURSES 1 2 3 4 5 6 7 8 AREA For course titles, MUSICIANSHIPI MUS100A–200BI 3 3 3 3 12 see Guide to MUS101, 201I 1 1 2 Course Titles MUS180I 1 1 (page 61 – 63) THEORYII THE100A–300AII 3 3 3 3 3 15 THE301II 2 2 *4 credits may HARMONYI HAR390A–390BI 3 3 6 be taken as COMPOSITION COM300 3 3 Independent COM301A 3 3 Study; 4 credits HISTORYIII HIS385III 2 2 may be taken as HIS386III 3 3 Performance HIS387III 3 3 HIS390A–390BIII 3 3 6 **or comparable PRIVATE INSTRUCTIONII PRV100A–400BII 1 1 1 1 1 1 1 1 8 transfer course PERFORMANCE PRF100–400 2 2 4 PRF207 2 2 PRF302 2 2 PRF380 2 2 PRF381 2 2 PRF382 2 2 PRF383 2 2 PRF480 2 2 MUSIC TECHNOLOGYI TEC100II 2 2 BUSINESS BUS300, 301 2 2 BUS400, 401 2 2 ELECTIVES ELECTIVES* 1 1 2 3 2 3 1 2 15 ENGLISH ENG100, 102, 103** 3 3 I ENG 105,110** I 3 3 HUMANITIES HUM100,305** 3 3 6 SOCIAL SCIENCES HIS100A–200BI 3 3 3 3 12 MATHEMATICSI MAT300** I 3 3 Four-Year Total PHYSICAL SCIENCESIII SCI300III 3 3 = 136 SENIOR PROJECT SEN400II 1 1 (Pianists = 134) SEMESTER TOTALS 17 17 17 17 17 17 17 17 136

VOCALISTS SEMESTER TOTALS PER REQUIRED COURSES 1 2 3 4 5 6 7 8 AREA For course titles, MUSICIANSHIPI MUS100A–200BI 3 3 3 3 12 see Guide to MUS101, 201I 1 1 2 Course Titles MUS180I 1 1 (page 61 – 63) THEORYII THE100A–200BII 3 3 3 3 12 THE315AII 3 3 *4 credits may HARMONYI HAR390A–390BI 3 3 6 be taken as COMPOSITION COM210 2 2 Independent COM300 3 3 Study; 4 credits HISTORYIII HIS110III 2 2 may be taken as HIS385III 2 2 Performance HIS386III 3 3 HIS390A–390BIII 3 3 6 **or comparable PRIVATE INSTRUCTIONII PRV110A–410BII 1 1 1 1 1 1 1 1 8 transfer course PERFORMANCE PRF110A–210B 3 3 3 3 12 PRF111A, 111B 2 2 4 PRF380 2 2 PRF207 or 383 2 2 PRF381 or 382 2 2 MUSIC TECHNOLOGYI TEC100II 2 2 BUSINESS BUS300, 301 2 2 BUS400, 401 2 2 ELECTIVES ELECTIVES* 1 1 5 3 5 15 ENGLISH ENG100, 102, 103** 3 3 I ENG 105,110** I 3 3 HUMANITIES HUM100,305**, HIS387 3 3 6 SOCIAL SCIENCES HIS100A–200BI 3 3 3 3 12 MATHEMATICSI MAT300** I 3 3 Four-Year Total PHYSICAL SCIENCESIII SCI300III 3 3 = 136 SENIOR PROJECT SEN400II 1 1 (Pianists = 134) SEMESTER TOTALS 18 17 17 17 17 16 17 17 136

58 Four-Year Total = 136 (Pianists = 134) BMJS / CONCENTRATION IN CURRICULUM REQUIREMENTS AUDIO PRODUCTION TEMPLATE

SEMESTER TOTALS PER REQUIRED COURSES 1 2 3 4 5 6 7 8 AREA For course titles, 3 3 3 3 12 MUSICIANSHIPI MUS100A–200BI see Guide to 1 1 2 MUS101, 201I Course Titles THEORYII THE100A–200BII 3 3 3 3 12 (page 61 – 63) THE301II 2 2 3 3 6 HARMONYI HAR390A–390BI Estimated cost 3 3 COMPOSITION COM300 of lab fees: COM301A 3 3 $4,200 HISTORYIII HIS390A–390BIII 3 3 6 1 1 1 1 1 1 1 1 8 PRIVATE INSTRUCTIONII PRV100A–400BII *4 credits may 2 2 PERFORMANCE PRF100–400 be taken as 2 2 PRF230 Independent PRF240 2 2 Study; 4 credits PRF250 2 2 may be taken as MUSIC TECHNOLOGYI TEC100II 2 2 Performance AUD300A 3 3 AUD300B 2 2 **or comparable AUD305A 2 2 transfer course AUD400AI 3 3 AUD400BI 3 3 AUD310AI 2 2 AUD310BI 2 2 AUD320I 1 1 AUD321I 1 1 AUD402 3 3 BUSINESS BUS300, BUS301 2 2 BUS400, BUS401 2 2 ELECTIVES ELECTIVES* 1 1 4 4 1 4 15 ENGLISH ENG100, 102, 103** 3 3 ENG 105,110** I 3 3 HUMANITIES HUM100,305** 3 3 6 SOCIAL SCIENCES HIS100A–200BI 3 3 3 3 12 MATHEMATICSI MAT300** I 3 3 Four-Year Total PHYSICAL SCIENCESIII SCI300III 3 3 = 136 SENIOR PROJECT SEN400II 1 1 (Pianists = 134) SEMESTER TOTALS 17 17 16 17 17 17 18 17 136

59 ASSOCIATE OF ARTS DEGREE CURRICULUM REQUIREMENTS IN JAZZ STUDIES TEMPLATE

INSTRUMENTALISTS SEMESTER TOTALS PER REQUIRED COURSES 1 2 3 4 AREA For course titles, MUSICIANSHIPI MUS100A–200BI 3 3 3 3 12 see Guide to MUS101, 201I(non-pianists) 1 1 2 Course Titles THEORYII THE100A–200BII 3 3 3 3 12 (page 61 – 63) PRIVATE INSTRUCTION II PRV100A–200BII 1 1 1 1 4 PERFORMANCE PRF100-400 2 2 4 *2 credits may PRF230 2 2 be taken as PRF240 2 2 Performance PRF250 2 2 PRF100–499 2 2 **or comparable MUSIC TECHNOLOGY I TEC100II 2 2 transfer course ELECTIVES ELECTIVES* 3 3 6 ENGLISH ENG100, 102, 103** 3 3 ENG 105,110** I 3 3 SOCIAL SCIENCES HIS100A–200BI 3 3 3 3 12 Two-Year Total = 68 SEMESTER TOTALS 18 16 17 17 68 (Pianists = 66)

VOCALISTS SEMESTER TOTALS PER REQUIRED COURSES 1 2 3 4 AREA For course titles, MUSICIANSHIPI MUS100A–200BI 3 3 3 3 12 see Guide to MUS101, 201I 1 1 2 Course Titles THEORYII THE100A–200BI 3 3 3 3 12 (page 61 – 63) COMPOSITION COM210 2 2 HISTORY HIS 110 2 2 *2 credits may PRIVATE INSTRUCTION II PRV110A–210BII 1 1 1 1 4 be taken as PERFORMANCE PRF110–210B 3 3 3 3 12 Performance MUSIC TECHNOLOGY I TEC100II 2 2 ELECTIVES ELECTIVES* 1 1 2 **or comparable ENGLISH ENG100, 102, 103** 3 3 transfer course ENG 105,110** I 3 3 SOCIAL SCIENCES HIS100A–200BI 3 3 3 3 12 Two-Year Total = 68

SEMESTER TOTALS 18 16 17 17 68 (Pianists = 66)

60 GUIDE TO COURSE TITLES (1)

COURSE NUMBERS COURSE TITLES

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

CONTINUED ON NEXT PAGE 61 GUIDE TO COURSE TITLES (2)

COURSE NUMBERS COURSE TITLES

MATHEMATICS AND QUANTITATIVE REASONING MAT300 Entrepreneurial Skills for Musicians MUSICIANSHIP MUS100A-200B Ear Training and Sight Singing MUS101 Keyboard Proficiency — Piano for Non-Pianists MUS102 Individual Tutorial MUS103 Introductory Music Theory and Ear Training MUS104 Drum Set Technique for Non-Drummers MUS105 Introduction to Mallet Percussion MUS110 Vocal Technique for Instrumentalists MUS150 Introduction to North Indian Tabla MUS180 Roots Guitar Styles and Techniques for Non-Guitarists MUS190A-B Yoga for Musicians MUS201 Keyboard Proficiency — Jazz Piano for Non-Pianists MUS202 Sight Reading Workshop MUS204 The Application of Eurhythmics to Jazz Repertoire MUS205 Chart Reading Workshop for Drummers MUS207 Double Bass Ensemble Workshop MUS208 Gypsy Jazz Guitar Styles and Techniques MUS209A-B Practical Applications for the Rhythm Section MUS240 Brazilian Jazz Guitar Styles and Techniques MUS241 Brazilian Jazz Bass Styles and Techniques MUS250 North Indian Music Fundamentals Through Voice MUS280 Traditional Fiddle Styles and Techniques (New) MUS300A-B Advanced Musicianship MUS308 Drum Grooves and Solos in Odd Meters MUS309 Fusion Drumming Styles and Techniques MUSIC TECHNOLOGY TEC100 Introduction to Music Technology PERFORMANCE PRF100-400 Jazz Repertoire Ensemble PRF101 Horace Silver Ensemble PRF110A-210B Vocal Performance PRF111A-B Vocal Jazz Ensemble PRF120-420 Jazz Strings Chamber Ensemble PRF201 Miles/Wayne Ensemble PRF203 Jazz Fusion Ensemble PRF204 Gypsy Jazz Ensemble PRF205 Wes Montgomery Ensemble PRF206 Guitar Ensemble PRF207 Blues and R&B Ensemble PRF215 Brazilian Jazz Bass and Voice Duets PRF219 Vocal Intensive PRF230 Latin Jazz Ensemble PRF231 Afro-Venezuelan Jazz Ensemble PRF232 Eddie Palmieri Ensemble PRF240 Brazilian Jazz Repertoire Ensemble PRF242 Choro Ensemble PRF245 Brazilian Rhythm Ensemble PRF246 Brazilian Jazz Guitar Ensemble PRF250 Traditional North Indian Ensemble PRF260 Blues and R&B Ensemble PRF261 East Bay Funk Ensemble PRF262 Ska and Reggae Ensemble PRF290 Saxophone Quartet

62 GUIDE TO COURSE TITLES (3)

COURSE NUMBERS COURSE TITLES

PRF301 Odd Meter Ensemble PRF302 New Orleans Ensemble – 1920s to the Present PRF303 Charles Mingus Ensemble PRF304 Art Blakey Ensemble PRF305 CJC Jazz Orchestra PRF306A Jazz Piano Trio PRF306B Jazz Guitar Trio PRF306C Jazz Organ Trio PRF306D Jazz Horn Trio PRF307 Chick Corea Ensemble PRF308 Improvised Music Ensemble PRF309 Percussion Ensemble PRF321 Jazz String Quartet PRF326 Jazz String Trio PRF335 Afro-Latin Percussion Ensemble PRF336 Afro-Cuban Orchestra PRF338 “Tangos, Choros and Frevos” PRF339 Astor Piazzolla Ensemble PRF346A Brazilian Jazz Piano Trio PRF346B Brazilian Jazz Guitar Trio PRF370 Sting Ensemble PRF380 Bluegrass Ensemble PRF381 Louisiana Cajun and Zydeco Ensemble PRF382 Early Blues/Jug Band PRF383 Appalachian Old-Time Ensemble PRF384 Celtic Ensemble PRF390 Contemporary Music Ensemble PRF391 Electronic Music Ensemble PRF403 Pat Metheny Ensemble PRF408 Original Compositions Ensemble PRF409 Post-Bop Ensemble PRF480 New Acoustic/Progressive Bluegrass Ensemble PRIVATE INSTRUCTION PRV100-400 Instrumental Private Instruction PRV110A-410B Vocal Private Instruction PHYSICAL SCIENCES SCI300 Physics of Sound and Music SOCIAL SCIENCES HIS100A-200B Jazz History (See also under Social Sciences) SENIOR PROJECT SEN400 Senior Project THEORY THE100A-200B Jazz Theory and Improvisation THE205 Single Line Soloing for Instrumentalists THE250 Traditional North Indian Rhythmic Concepts for the Jazz Musician THE251 Traditional South Indian Rhythmic Concepts for the Jazz Musician THE300A Advanced Jazz Theory and Improvisation THE300B Advanced Transcription and Analysis of the Jazz Masters THE301 Form and Analysis of Jazz Standards THE302 Polyrhythms and Odd Rhythm Groupings THE305 21st Century Trends and Aesthetics in Jazz THE315A Single Line Soloing for Vocalists THE315B Single Line Soloing for Vocalists THE330 Latin Jazz Theory and Improvisation

63 FACULTY

Laurie Antonioli / Voice Theo Bleckmann / Voice Asian American Orchestra. He has Chair, Vocal Jazz Studies (Visiting Professor, on occasion) contributed chapters to “John Coltrane Department National and international performing and Black America’s Quest For (Full Professor, part-time) and recording artist and educator. Freedom” (Oxford U. Press), “The Studied at Mt. Hood College and Performed with Laurie Anderson, Cambridge Companion to Duke Cal State Long Beach. Student of Anthony Braxton, Steve Coleman, Ellington” (Cambridge U. Press), and Joe Henderson and Mark Murphy. Dave Douglas, Philip Glass, Meredith his book, “GIVE THE DRUMMER Professor, Vocal Jazz Studies, Monk, Michael Tilson Thomas, John SOME! The Development of Modern KUG U., Graz, Austria 2002-2006); Zorn and the Bang On A Can All-Stars. Jazz Drumming” is forthcoming on International performing and record- Featured soloist with the Albany University of California Press. ing artist with releases on Nabel Symphony, San Francisco Symphony fifthstreammusic.org Records, Germany; Yamaha Records, Chorus, Estonian Radio Choir, Merce Japan; and Origin Records, USA. Cunningham Dance Company and Terry Buehler / Physics Owner of Intrinsic Music Record Mark Morris Dance Group. Currently (Associate Professor, part-time) Co. Clinician, adjudicator and on faculty at Manhattan School of Graduate studies in Mathematics, curriculum development for CJC Music. Previously on faculty at New University of California, Berkeley; Vocal Program. Co-teaches annual York University, The New School and BSME in Mechanical Engineering and summer Vocal Jazz Intensive with Queens College. Teaches voice privately Mathematics, University of Wisconsin, Theo Bleckmann. Performed and/ and in workshops and master classes Madison. Lecturer, lab and discussion or recorded with George Cables, worldwide. theobleckmann.com instructor, and lab manager with the Bobby McFerrin, Richie Beirach, Physics Department at University of Pony Poindexter, Joe Henderson, Lee Brenkman / Recording, Sound California, Berkeley for 20+ years. Has Sheila Jordan and Mark Murphy. (Associate Professor, part-time) taught Physics and Music since 2012. Bandleader of Foreign Affair Band Sound system operation, design. and The American Dreams Band. Sound engineer, Avalon Ballroom, Danny Caron / Guitar Has released numerous critically Family Dog Productions; head sound (Adjunct Professor, part-time) acclaimed recordings including technician, Great American Music Hall, BA in English and Music, Oberlin “Songs of Shadow, Songs of Light” Stanford Jazz Workshop, Dick Bright’s College; graduate of Howard Roberts’ — The music of Joni Mitchell (Origin SRO Band; mixed live shows for Bill Guitar Institute, Los Angeles. Studied Records, 2014), and “Varuna” with Evans Trio, Stephane Grappelli, Count with Joe Diorio, Ron Eschete and Pat Richie Beirach (Origin Records, Basie Orchestra, Sarah Vaughan, Van Martino among others. International 2015), with reviews in Downbeat, Morrison, Astor Piazzolla, Duke touring and recording artist; music JazzTimes, AllAboutJazz, KQED Arts Ellington Orchestra, Oregon; engi- director and guitarist for the late and more. laurieantonioli.com neered recordings by Ed Blackwell, Charles Brown for over a decade. Betty Carter, Tito Puente, Woody Performed with legends including Van William R. Aron / Woodwinds Herman, Hampton Hawes, Carmen Morrisson, Bonnie Raitt, Dr John, John (Associate Professor, part-time) McRae. Clayton and Teddy Edwards. Guitarist M.M in Performance, San Francisco on 2 Grammy Award-winning records, State, 1982; B.A. in Music, UC Anthony Brown / Drums/ Percussion “I’m Here” with Zydeco King Clifton Berkeley, 1979. Professional musician Chair, Jazz History Department Chenier, and “Don’t Look Back”, with and music educator for 42 years; (Full Professor, part-time) Van Morrison and John Lee Hooker. specializing in classical saxophone Composer, percussionist, ethnomusi- Faculty member of the California playing with the San Francisco cologist, Guggenheim and Ford Fellow, Jazz Conservatory since its inception Saxophone Quartet and San Smithsonian Associate Scholar, and in 1997. Francisco Symphony among others. GRAMMY nominee Dr. Anthony Brown has collaborated with Max Roach, Maye Cavallaro / Voice Joe Bagale / Music Technology Cecil Taylor, Zakir Hussain, Steve Lacy, (Associate Professor, part-time) (Associate Professor, part-time) David Murray, Anthony Davis and the Advanced degree in Education, Eastman School of Music (1-1/2 yrs.). San Francisco Symphony. Dr. Brown UC Santa Barbara; B.A. in English Lit, Record producer; Manager, Coast holds an M.A. and Ph.D. in music UC Santa Barbara. Fellow NY Cabaret Recorders, SF; awarded Outstanding (ethnomusicology) from UC Berkeley, Symposium; faculty, Blue Bear School Rhythm Section Player by Wynton and a Master of Music degree in jazz of Music; faculty, Jazzschool since 2002, Marsalis; studied with Rich Thompson, performance from Rutgers University. private coaching, 30 years; producer, Steve Gadd, Ben Monder, Clay He has served as a Visiting Professor 10 recordings; producer, 25 concerts Jenkins, Ron Carter, Darmon of Music at UC Berkeley, an adviser and instructor/mentor for Jazzschool Meader, Scott Amendola; played and consultant for The Exploratorium, concert series; bandleader, performing with Fred Wesley (James Brown); and previously was Curator of artist, recording artist; awarded Best of full time member of Bay Area bands American Musical Culture and Director the Year in Jazz by the San Francisco including Hot Einstein, Realistic of the Jazz Oral History Program at the Chronicle; visiting clinician, St. John’s Orchestra, Disappear Incompletely, Smithsonian Institution. He is currently U.; graphic artist, web designer. and the Jazz Mafia Symphony Artistic Director of Fifth Stream Music, mzjazz.com Orchestra; leader, Joe Bagale Band. and the internationally acclaimed 64 65 FACULTY

Matt Clark / Piano / Accompanist Angie Doctor / Voice Steve Erquiaga / Guitar (Instructor, part-time) (Associate Professor, part-time) (Associate Professor, part-time) BFA in Jazz Studies from the Oberlin B.A. In Music Performance, Gonzaga National and international recording Conservatory of Music. Recorded and/ University. Studied with Phil Mattson, and performing artist; performed at or performed with Bobby Hutcherson, Terry Summa and Tim Smith. Founding Montreux Jazz Festival, Berlin Jazz Benny Golson, Eddie Marshall, John member of the Grammy-nominated PM Festival, North Sea Jazz Festival; Faddis, David “Fathead” Newman, Singers with Phil Mattson. Performing performed with Bobby McFerrin, Joe Gene Bertoncini, Joshua Redman, and and recording artist, studio singer, vocal Henderson, Les McCann, John Teddy Edwards. Toured extensively jazz adjudicator and clinician, jazz and Scofield, David Byrne, Turtle Island throughout Asia, Europe and the pop solo coach. Artist-in-residence, String Quartet, Paulo Bellinati, Andy United States including appearances Vocal Jazz Choir and Solo Jazz Lab with Narell, and Paul McCandless; founder, at the Monterey, San Francisco, Vienne, Melecio Magdaluyo at Ruth Asawa San leader, Trio Paradiso; faculty, Jamey Big Sur, Stanford, and Rochester jazz Francisco School of the Arts High Aebersold Jazz Clinics; publica- festivals in addition to televised School. Performed with Bobby tions include Guitar Duets and performances for CNN Showbiz Today McFerrin, Don Shelton, The Hi-Lo’s, Arrangements from his CD Cafe and numerous PBS specials. Clinician, Barbara Morrison, The Manhattans, Paradiso. erquiaga.com lecturer in jazz history, and ensemble Heatwave, Deneice Williams, Barbara instructor at the Stanford, Oaktown Lewis, GQ, Gene Chandler, Eddie Bill Evans / Banjo and Cazadero jazz workshops. Holman, Barbara Mason and Billy Paul. Co-Chair, North American Roots Founding member and lead singer for Music Department George W. Davis / Poetry / Clockwork, currently The Girl in The (Associate Professor, part-time) Literature Bobs, and member of the female vocal PhD candidate & MA, UC Berkeley (Adjunct Professor, part-time) quartet, Montage. in Music (Ethnomusicology); BA, BA in Literature, St. Lawrence University of Virginia, Anthropology University; Graduate Studies, Poetry Taylor Eigsti / Piano (Folklore); international performing/ and Drama, Bread Loaf School of (Visiting Professor, on occasion) recording artist who has performed English & UC Berkeley; teaches English, Studied music at U. of Southern with David Grisman, Peter Rowan poetry, creative writing, Berkeley California. Concord Recording Artist; & Dry Branch Fire Squad; author of Adult School; tutor in Adult Education; 2007 Grammy nominee; faculty, Banjo For Dummies; guest clinician/ teacher,” Literary Groove of Jazz”, Stanford Jazz Workshop since 1999; artist in residence at Berklee College JCMS; co-producer, Florio Street leader, Taylor Eigsti Group with five of Music, Virginia Commonwealth Concerts; producer, Jazz and the albums as a leader; featured on BET University, Carleton College; director Word, CJC; performer and reader jazz channel; performed with Joshua of NashCamp Banjo Camp; colum- throughout the San Francisco Redman; Ernestine Anderson, Dave nist for Banjo Newsletter magazine; Bay Area. Brubeck, Diane Schuur, James Moody, 2012 CD In Good Company topped Bobby Hutcherson, Frederica Von international folk and bluegrass charts; Jeff Denson / Double and Stade, Patti Austin, Christian McBride, mentored Chris Pandolfi (The Infamous Electric Bass Red Holloway, Rufus Reid, Alan Stringdusters), Greg Liszt (Bruce Chair, Bass Department Broadbent; featured on Marian Springsteen, Crooked Still), Wes (Full Professor, full-time) McPartland’s Piano Jazz on NPR; Corbett (Joy Kills Sorrow), Erik Yates DMA in Contemporary Music featured in DownBeat Magazine, (Hot Buttered Rum) and Jayme Stone. Performance with an emphasis in Billboard, Jazziz, Jazz Times, billevansbanjo.com Composition, University of California Keyboard Magazine. tayjazz.com San Diego; MM in Jazz Studies Magna Ian Faquini / Guitar Cum Laude, Florida State University; Kai Eckhardt / Bass (Instructor, part-time) BM in Performance Cum Laude, Berklee (Adjunct Professor, part-time) B.M. in Jazz Studies, California Jazz College of Music. Enja Records record- BA with honors, Berklee College of Conservatory (in progress). Composer, ing artist with Minsarah and with the Music. Internationally acclaimed guitarist, vocalist and arranger, spe- Lee Konitz New Quartet. National and performing and recording artist, cializing in the music from his native international performing and record- composer and educator; performed country, Brazil. Has performed and/ ing artist; performed with Bob Moses, with Steve Smith’s Vital Information, or recorded nationally and internation- Joe Lovano, Carl Allen, Kenny Werner, Alphonse Mouzon, Randy Brecker, John ally with Guinga, Spok, Paula Santoro, Anthony Davis, Mark Dresser, Geoffrey McLaughlin, Billy Cobham, Fareed Rafael Barata, Vitor Gonçalves, Keezer, Claudio Puntin, Lionel Loueke, Haque, Courtney Pine, Zakir Hussain, Moyseis Marques, Clarice Assad, Jean Dan Weiss, Ralph Alessi, Charles George Brooks, Mike Marshall, and Charnaux, Túlio Araújo, Marcos Silva, McPherson and Lee Konitz. Select per- Stanley Clarke. Faculty on occasion at Harvey Wainapel, Jeff Cressman, formances include: Berlin Jazz Festival, Berklee College of Music, Boston; the Sandy Cressman, Almir Côrtes, and the JVC Jazz Festival Paris and the Bass Collective, NYC; Anton Bruckner Scott Thompson, among others. Ian Montreal Jazz Festival, The Kennedy Conservatory, Austria; and Musician’s teaches at the renowned California Center and the Village Vanguard. Institute of Technology in Los Angeles. Brazil Camp and has also presented jeffdenson.com kaizone.com many workshops throughout the United States and Brazil. 64 65 FACULTY

Dan Feiszli / Bass, Todd M. Gascon / Business of Music of recordings, as a leader and with Recording Engineer (Associate Professor, part-time) others, for Blue Note, Telarc and (Associate Professor, part-time) JD University of Dayton; B.S.B.A. Ohio other labels. His most recent release, B.M. in Studio Music and Jazz, U. of Northern University. Todd Gascon is an Magic Beans (Sunnyside, 2013), is his Miami, 1998. SF Bay Area-based bassist, entertainment and technology lawyer first self-produced recording of all producer and recording engineer. Has with the Zent Law Group in Sunnyvale, original compositions, and includes performed with Raul Midon, Julio California. Mr. Gascon’s practice is his Jazz Messenger teammate, Peter Iglesias, James Moody, Ann Hampton focused in the areas of intellectual Washington on bass and Kenny Calloway, Ignacio Berroa, Jon Secada, property law and licensing, with a Washington on drums. Benny Green and locally with a host of Bay Area particular emphasis in digital media, was the first recipient of the Glenn musicians. Dan has been featured on music, motion pictures and the visual Gould International Protégé Prize hundreds of recordings as a bassist, arts. Mr. Gascon represents artists, in Music (1993), and his remarkable played at major jazz festivals including composers, bands and independent career stretches back to his days at the Monterey and Playboy Jazz record labels in the negotiation of Berkeley High, in the school’s influen- Festivals, performed at jazz clubs distribution, management, publishing, tial Jazz Ensemble. nationwide including The Blue Note in production and recording agreements bennygreenmusic.com NYC, Jazz Bakery and Baked Potato in as well as the licensing of compositions LA, and has done musical theatre pit and master recordings for use in Alan Hall / Drums orchestra work including local and commercials, motion pictures, television (Associate Professor, part-time) touring productions of Billy Elliot and and videos. A partial listing of his clients, Advisor, Drum Program. Former assis- The Lion King. As a producer and past and present, includes Dave Binney, tant professor at Berklee College of recording engineer, he has recorded Don Byron, Jim Campilongo, Dave Music; adjunct faculty at UC Berkeley; hundreds of albums for artists reaching Douglas, Marty Ehrlich, Wayne Horvitz, clinician; author; performed with Ernie the highest spots on the Jazz radio Hot Club of San Francisco, Andy Laster, Watts, Paul McCandless, Eddie Harris, charts, regularly working out of his own Kate McGarry, Myra Melford, Mick Rossi, Bruce Wilamson, Art Lande, Tom studio, What’s For Lunch? Recording in Kendra Shank, Edward Simon, Tin Hat Coster, Kit Walker, Rebecca Parris, Kai El Cerrito, as well as Fantasy and Cuong Vu. In addition, Mr. Gascon Eckhardt, Stuart Hamm; artist endorse- Studios in Berkeley. is a board member of Rova:Arts, the ment with Zildjian Cymbals, Vic Firth non-profit organization of the Rova Sticks, Aquarian Accessories. Mimi Fox / Guitar Saxophone Quartet. zentlawgroup.com jazzdrumming.com (Associate Professor, part-time) International recording/performing John Gove / Trombone Peter Horvath / Piano artist and five-time DownBeat (Full Professor, full-time) (Adjunct Professor, part-time) Magazine International Critics Poll MM and BM in Jazz Composition and MA, Berklee College of Music; winner. Performed throughout Performance, Eastman School of Music; Bela Bartok Conservatory of Europe, Asia, the Caribbean and winner of two Downbeat awards for Music, Budapest, Hungary; Vienna Australia. Festivals include Montreal, composition and arranging. Director Conservatory of Music. Performed, Monterey, Guinness Cork, Perth and of Jazz Studies at Laney College. toured, recorded with Victor Bailey North Wales International Jazz Guitar Has performed and/or recorded as a Group, Bobby Hutcherson, Joe Festival. Adjunct professor of Jazz trombonist with Terence Blanchard, the Henderson, Lalah Hathaway, Oakland Studies at NYU; guest clinician/artist in Mingus Dynasty, Maria Schneider, Tony Symphony, Bob Sheppard, Bennie residence at Alaska Jazz Workshop, Bennett, Diana Krall, Dr. John, Peter Maupin, Richie Cole, Ray Obiedo; Britt Music Festival, Yale U., CalArts, Gabriel, Huey Lewis, Smashmouth. His arranged and recorded for Aretha Cornish College of the Arts, U. of arrangements have been commissioned Franklin. peterhorvath.com Oregon, USC and Berkeley College and performed by such artists as Ledisi of Music; featured artist on Marian with the Count Basie Orchestra and the Erik Jekabson / Trumpet McPartland’s Piano Jazz on NPR; SFJazz All Stars. (Associate Professor, part-time) featured artist, Kennedy Center. MA in Composition, SF Conservatory Performed with Charlie Byrd, Kenny Benny Green / Piano of Music; B Mus. in Trumpet, Oberlin Burrell, Branford Marsalis, David (Visiting Professor, on occasion) Conservatory of Music. Toured with Sanchez and Diana Krall. A member of Art Blakey’s famed Jazz John Mayer, Illinois Jacquet and mimifoxguitar.com Messengers, Benny Green served Galactic. Arranged for SF Symphony, as star side man with such notables Madeline Peyroux, Ani DiFranco, as Betty Carter, Freddie Hubbard Jackie Ryan and others; leader of and Ray Brown. He has appeared on the Electric Squeezebox Orchestra, hundreds of recordings with them recorded six CDs under his own name and with Oscar Peterson, Etta Jones, for Fresh Sound, Wide Hive, OA2 Milt Jackson, and Russell Malone, to and his own Jekab’s Music label. name only a few. He formed his own Composed for film and dance projects trio in 1991, and has produced dozens as well. erikjekabson.com

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

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Frank Martin / Piano, Keyboards and a software research associ- M.A. in Music Composition, Mills (Associate Professor, part-time) ate’s award in the Machine Learning College; B.A. in Visual Arts and Music Music Director for Narada Michael Department at Carnegie Mellon Composition; minor in Saxophone Walden, Patti Austin, Angela Bofill; University’s School of Computer Performance, Bennington College. Carnegie Hall appearances with Science. Dr. Mobley’s electro-acoustic Media artist/composer, improviser, Sting, James Taylor, Elton John; Record compositions appear on the Architects technologist and educator. Studied producer/arranger for Al Jarreau, & Heroes | A Digital Art Collective label with Milford Graves, Roscoe Mitchell, Turtle Island String Quartet, Joey and have been featured in concert, Bruce Williamson, Zeena Parkins, DeFrancesco, Mimi Fox, Mary Jenson, film, dance, and art installations. Fred Frith, James Fei, Jason Rigby, Molly Holm, Deuce, Tuck & Patti, Karen Allen Shawn, and Maggi Payne. Blixt; performed/recorded with John Hafez Modirzadeh / Theory, Performances on saxophone, modular McLaughlin, Buddy Montgomery, Joe Saxophone synthesizer and electronics. Composed Farrell, Dizzy Gillespie, Larry Coryell, (Full Professor, part-time) for Generous Ensemble, Sage City Herbie Hancock, Stanley Jordan, Stevie PhD, Wesleyan University (1992), for Symphony, Bennington College Wonder, Airto, Dori Caymmi, Dianne his original “chromodal” approach to Saxophone Ensemble, Martha Herr, Reeves, Patrice Rushen, Trilok Gurtu, jazz. Since 1998, Professor of World Mills College CPE, Mills College Richard Bona; Faculty, UC Berkeley Cultures Program at SF State’s School Gamelan, and others. Releases on Jazz Ensembles. of Music and Dance. 1989, ‘91 NEA Unheard Records, and the Rubber frankmartinproductions.com Jazz Fellow, and 2006 Fulbright Senior City Noise imprint as Peanut Twins. Lecturer to work with Gnawan and Performed and/or recorded with Jeff Marrs / Drums Flamenco musicians in Morocco and Aurora Josephson, Hamir Atwal, (Associate Professor, part-time) Andalucia. An international per- Phillip Greenlief, Biggi Vinkeloe, BA and MA in Jazz Performance from forming/recording artist and educa- Fred Frith, Nava Dunkelman, gabby The New England Conservatory; works tor, Modirzadeh has worked with fluke-mogul, John McCowen, Madam regularly with Marcus Shelby Jazz Don Cherry and Peter Apfelbaum’s Data, Perpetual Ash, Hild Sofie Tafjord, Orchestra, The Mel Martin Quartet, Hieroglyphics Ensemble, Ornette Bergrún Snaebjörnsdottir, Tom Djll, The “Dynamic” Ms. Faye Carol; has Coleman, John Handy, Zakir Hussein Indy Niles, Adra, Evan Lipson, Sandy performed with Dr. Lonnie Smith, and Mark Izu’s Circle of Fire, Steve Lacy Gordon, Kris Force, Bruce Williamson, Marc Cary and George Russell; part- and Anthony Brown’s Asian American John Niekrasz, A.E. Paterra, Barry time faculty member, Los Medanos Orchestra, Oliver Lake, James Newton, Saunders and others. College, Diablo Valley College, and Leo Smith, Omar Sosa, and many Asian UC Berkeley. and Asian American artists including Ricardo Peixoto / Guitar Fred Ho, Danongan Kalanduyan, Akira (Associate Professor, part-time) Paul Mehling / Guitar, Tenor & Tana, Kenny Endo, Francis Wong and Originally from Rio de Janeiro, Brazil, Plectrum Banjo, Violin, Viola, Bass Asian Improv Arts. came to the US on scholarship to (Associate Professor, part-time) attend Berklee College of Music in Leader of the Hot Club of San Susan Muscarella / Piano Boston, graduating with a B.M. in Francisco; international touring President and Dean of Instruction Performance and including studies with and recording artist. “Godfather of (Full Professor, full-time) Pat Metheny, Gary Burton and Mick gypsy jazz in America (according to PhD candidate in Musicology, Goodrick. In the Bay Area studied clas- PBS)”; producer of CD recordings University of Évora, Portugal. BA in sical guitar with George Sakellariou. and Instructional DVDS for guitar; Music Composition, UC Berkeley. Ricardo’s fluid melodic style and keen International Association of Jazz Founding President and Dean of compositional sense explore Brazil’s Educators award-winner. HCSF.com Instruction, CJC, Inc. Director, UC rich and diverse traditions while incor- Jazz Ensembles program 1984 – 89; porating elements of jazz and classical Aaron Mobley / Composition & composer, arranger and recording guitar, placing him among the top rep- Theory (Full Professor, part-time) artist; performances at major clubs and resentatives of Brazilian guitar in the DMA in Composition, University of festivals including Yoshi’s, Keystone US today. Recorded, performed, and Arizona; MM in Composition/Theory, Korner, Great American Music Hall collaborated with Claudia Villela, Flora Carnegie Mellon University; B Mus. and the Lighthouse, and Monterey, Purim and Airto, Bud Shank, Dom Um in Composition/Theory, Southern Berkeley and Concord Jazz Festivals; Romão, Sivuca, Claudio Roditi, Raul Methodist University. Aaron Mobley is featured on Marian McPartland’s Piano de Souza, Toots Thielemans, Dori a composer/pianist and the Head of Jazz on NPR; recipient of a 2008 “A Caymmi, Guinga, Arturo Sandoval, Music Studies at Berkeley City College Team” Award from the Jazz Journalists Spok, Jovino Santos Neto, Marcos in addition to his role as faculty and Association; former member of the Silva, Almir Côrtes, Rogério Souza, author in musicology/theory with the Board of Directors, Chamber Music Terra Sul, and the Berkeley Choro American Culture and Ideas Initiative America. cjc.edu Ensemble among others. Has per- at the Fred Fox School of Music, formed throughout the US, Europe, University of Arizona. Recipient of Kim Nucci / Electronic Music, Canada, Japan and Brazil. Teacher several distinguishing awards includ- Composition and lecturer at California Brazil Camp ing an Andrew W. Mellon Foundation (Associate Professor, part-time) and Jazz Camp West, and has taught Fellowship in the Arts, a National M.F.A. in Electronic Music and at the California Jazz Conservatory Endowment for the Humanities grant, Recording Media, Mills College; (F.K.A the Jazzschool) for the last several years. 68 69 FACULTY

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

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Jim Santi Owen / Indian Percussion Marcos Silva / Piano Akira Tana / Drums (Associate Professor, part-time) (Associate Professor, part-time) (Adjunct Professor, part-time) MA in World Music, CalArts. Trained Co-chair, Brazilian Jazz Studies BM in Percussion, New England in Indian percussion under Pandit Department Conservatory, 1979; BA in East Asian Swapan Chaudhuri, T.H. Subash National and international perform- Studies, Harvard University, 1974. Chandran, and K. Sekar. Student of ing and recording artist, composer, Performed with jazz greats Sonny Charlie Haden, James Newton, and arranger, producer, educator; per- Rollins, Sonny Stitt, Zoot Sims, Hubert Tootie Heath, and African drumming formed with Leny Andrade, Emilio Laws, Milt Jackson, Jim Hall, Art and dance from the Ladzekpo Santiago, Marcio Montarroyos, Farmer, The Paul Winter Consort, Brothers. Performed with Pharoah Jon Lucien, Claudio Roditi; Music Paquito D’Rivera, James Moody, Sanders, Alonzo King, Hamza el Din, Director, arranger, keyboards for Flora J.J. Johnson, Lena Horne, and The Mickey Hart, Alam Khan, George Purim, Airto, Toninho Horta, Paquito Manhattan Transfer, among oth- Brooks, Steve Smith, Chitresh Das, D’Rivera, Bud Shank, Ricardo Silveira, ers. Performed at the Tanglewood Gamelan Sekar Jaya, and Jai Uttal Dori Caymmi, Nana Caymmi, Danilo Festival under the direction of Leonard among others. On faculty at the Caymmi, Edu Lobo, Joyce; leader, Bernstein, Seiji Ozawa and Gunther Ali Akbar College of Music, the CJC, Marcos Silva and Intersection. Schuller and has accompanied diverse Dominican University, and Lines artists such as Charles Aznavour, Ballet School and is currently the Edward Simon / Piano Maurice Hines and Van Dyke Parks. Musical Director of the San Francisco (Associate Professor, part-time) Teaches privately and at San Francisco World Music Festival. Pianist Edward Simon is a McDowell State University. Conducts clinics and jimsantiowen.com and Guggenheim Fellow, international master classes throughout the country performing artist and educator. He sponsored in part by Yamaha Drums John Santos / Percussion has served on the faculty at the New and Vic Firth Sticks. (Associate Professor, part-time) School for Jazz and Contemporary www.akiratana.com Percussionist, producer, composer, Music, the City College of New York recording artist, writer and historian. and the University of the Arts and Sheryl Lynn Thomas / Multi Grammy nominee (5); Founder currently teaches piano and improvisa- Business of Music — Marketing and Director, The Machete Ensemble, tion at the New School for Jazz and (Associate Professor, part-time) 1985 – 2006; performed and/or Contemporary Music in New York. MS in Entertainment Business, Full recorded with Dizzy Gillespie, Tito Mr. Simon has taught master classes Sail University; BA in Drama from San Puente, Santana, Cachao, Eddie and clinics at music conservatories Francisco State U. with emphasis on Palmieri, Max Roach, McCoy Tyner, and universities around the world. Musical Theater. Marketing Director, Steve Turre, Bobby Hutcherson, Lalo He has twice earned the Certificate San Francisco Contemporary Music Schifrin, James Moody, The Latin of Appreciation for Outstanding Players; Marketing and Development Giants of Jazz, Omar Sosa, Buena Vista Service to Jazz Education from the Coordinator, Living Jazz; Digital Social Club, Batacumbele, Lázaro Ros, International Association for Jazz Marketing Manager, California Jazz Francisco Aguabella, Armando Peraza, Education (1999, 2004), has been a Conservatory; Marketing and Publicity El Conjunto de Clave y Guaguancó, member of SF Jazz Collective since Director, Patois Records; Managing John Faddis, and Mark Murphy. 2010 and is currently a member of the Director, Ridgeway Arts; Latin jazz and Lectured and/or offered residencies at Ninety Miles ensemble lead by Stefon world music recording artist; award the Berklee School of Music, Yale, Harris, David Sanchez and Nicholas recipient and honorary member of the UCLA, Whittier College, Michigan Payton. Mr. Simon is a Yamaha Artist. International Thespian Society; vocal State, U. of Wisconsin at Madison, and acting training with San Francisco Dillard U., UC Berkeley, UC John Stowell / Guitar Academy for The Performing Arts, Sacramento, UC Santa Cruz, UC (Visiting Professor, on occasion) Seydways Acting Studio and John Monterey Bay, San Jose State U., SF Thirty years of freelance experience Howard Swain. purmusicmarketing.com State U., Humboldt State U., and teaching and playing internationally, Brigham Young U., as well as through- adjunct faculty at numerous colleges Eric Thompson / Guitar out Europe and Latin America. in the Pacific Northwest, published (Associate Professor, part-time) Currently on faculty of the College of author (Mel Bay and Truefire), con- B.A., University of California, Berkeley. San Mateo, Jazz Camp West, and tributing columnist (Guitar Player, Since 1962, international performing, director of the highly acclaimed John DownBeat, Canadian Musician, etc.), recording and teaching guitarist/ Santos Sextet. ten CDs as a leader, twelve as a co- mandolinist, who has worked with David leader. Performance credits include Grisman, Mike Seeger, the Charles River Paul Horn, Milt Jackson, Lionel Valley Boys and many others. Faculty at Hampton, Dave Liebman, Billy Hart, Puget Sound Guitar Workshop, David Don Thompson and Pete Christlieb. Grisman’s Mandolin Symposium, Kamp johnstowell.com Kaufman, Alabama Folkschool, Festival of American Fiddle Tunes, Montana Fiddle Camp, and many others. Teaching videos and instructional books released by Stefan Grossman’s Guitar Workshop and Mel Bay.

70 71 FACULTY

Scott Thompson / Bass luminaries. Founding member of Dillon Vado / Vibraphone / Drums (Instructor, part-time) Bobby McFerrin’s Voicestra. A central (Instructor, part-time) B.M. In Jazz Studies, California Jazz figure in the Oakland’s R&B and funk B.M. in Jazz Studies, California Jazz Conservatory in progress. National and scene and the emerging genre of Conservatory (in progress). Has international performing and record- Women’s Music. She has appeared performed with Art Lande, The Marcus ing artist. Has performed/recorded on over 70 recordings by such artists Shelby Jazz Orchestra, Jeff Denson, with Chico Pinheiro, The Hieroglyphics, as Carlos Santana, Boz Scaggs, Pete Alan Hall, Paul Hanson, John Gove, Erik Souls of Mischief, Cesar Carmago and Sheila Escovedo, Taj Mahal, Vicki Jekabson, Mike Zilber and Mads Tolling Mariano, Helio Alves, Thomas Pridgen, Randle, Eric Bibb, Mickey Hart, Bobby as well as in various musicals and the E-40, Too $hort, Kiko Freitas, Ana McFerrin, Linda Ronstadt, Huey Lewis Santa Clara Vanguard. Has studied with Gasteyer (Saturday Night Live), Marcos & The News, The Whispers, Holly Christian Tamburr, Jason Lewis, David Silva, Toninho Horta, Urban Punk, Near, Turtle Island String Quartet and Flores and Alan Hall. Has taught Latoya London (American Idol), Spok, Keith Terry’s percussion ensemble, vibraphone and drums in both group Oakadelic, Jovino Santos Neto, Rafael Crosspulse. Formed the six-member and private lesson settings for over Vernet, Tiago Costa, Dani Gurgel, Cultural Heritage Choir — a percus- five years. Deborah Gurgel, Thiago Rabello, sion- driven vocal ensemble. An Mauricio Zottarelli, Rafael Barata, Vitor authority on the African Diaspora in Arjun Verma / Sitar Gonçalves, Mark Levine, Ian Faquini, song. Her current mission is to help (Associate Professor, part-time) Paula Santoro, Claudia Villela, Frank preserve and share the rich musical BA in Psychology with a thesis in Martin, Jeff Buenz, Harvey Wainapel, traditions of African American roots music learning techniques, Dominican Jeff Cressman, Sandy Cressman, and music. University of California. A student of Tulio Araujo, among others. Has taught sarod maestro Ustad Ali Akbar Khan. at Festival Instrumental de Teresina in Mads Tolling / Violin, Viola Recipient of the prestigious Shenson Brazil, Helsinki Music Centre in Finland, (Associate Professor, part-time) Fellowship from the San Francisco California Brazil Camp, Jazz Camp West, Internationally renowned violin- Foundation. Performed throughout Lafayette Summer Music Workshop, ist, violist, and composer. Two-time the US and Europe including the Stanley Middle School, private lessons, Grammy award-winner with the Turtle United Nations in Geneva, Switzerland, workshops, ensembles, master classes, Island Quartet. As violist with the the New School in New York City and among others. quartet, 2003–2007 and now as first Prague Castle in Prague, Czech violinist, 2007–present, Mads main- Republic. Currently on faculty at Suzy Thompson / Violin tains an active touring and recording the Ali Akbar College of Music. Co-Chair, North American Roots schedule as well as composing and Department giving master classes. Tours as jazz Claudia Villela / Voice (Associate Professor, part-time) violinist with the acclaimed bassist (Adjunct Professor, part-time) International performing and Arhoolie Stanley Clarke and his touring band. B.A. in Music Therapy, Brazilian recording artist, who has performed In 06 and 08 as part of Turtle Island Conservatory of Music, Rio de with Jim Kweskin, Bruce Molsky, Michael Quartet, Mads won two Grammy Janeiro. A native of Rio de Janeiro, Doucet, Alice Gerrard and many other awards for Best Classical Crossover an award-winning singer/songwriter/ folk artists; residency/guest lecturer at album with the recordings “4+Four” improviser/arranger who has per- Berklee College of Music, U.C. Berkeley, and “A Love Supreme — The Legacy formed and recorded with Michael E. Tennessee State University, College of John Coltrane.” Tolling has received Brecker, Toots Thielemans, Kenny of Wooster; Emeritus Artistic Director Denmark’s Sankt Annae’s Award for Werner, Toninho Horta, Guinga, of Festival of American Fiddle Tunes; Musical Excellence as well as grants Dori Caymmi, Airto Moreira, Carlos Founder and Director of Berkeley Old from Queen Margaret, the Sonning Malta, Romero Lubambo and Ricardo Time Music Convention; reviewer for Foundation and the Berklee Elvin Peixoto among others. A specialist in the Old Time Herald, contributor to Jones Award. He has performed voice, piano and Brazilian percussion, Fiddler Magazine; faculty: Augusta with Paquito d’Rivera, Kenny Barron, Villela has released 5 albums. In 2008, Heritage Center Cajun-Creole Week Joe Lovano, Stefon Harris, Sergio & she received a prestigious commis- and Old-Time Week, Puget Sound Odair Assad, Leo Kottke and Russell sion from NYU to set Latin American Guitar Workshop, Alabama Folkschool, Ferrante. poems to music. Villela has served on California Bluegrass Association Camp, the faculty of California Brazil Camp Blues in the Gorge, many others. Cindy Turner / Business and teaches workshops in Brazilian (Associate Professor, part-time) music on a regular basis. Linda Tillery / Voice B.S. and M.B.A. in New Ventures (Associate Professor, part-time) and Small Business Management/ Grammy-nominated vocalist, producer, Marketing. Private consultant, Turner percussionist, arranger, educator and & Associates; competency in mar- cultural historian. Performed with iconic ket research and business planning; bands Cream, Iron Butterfly, Vanilla certified NxLevel Business Planning Fudge, Big Brother and the Holding instructor. Small business management Company, Albert King, B.B. King, instructor – Berkeley City College, Santana, Taj Mahal, Mother Earth, Jeff U.C. Berkeley and JFK University. Beck and a long list of Rock and Roll Columnist: “How to” case studies rela- tive to small business management. 70 71 FACULTY

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

Visiting: A course load of a determinate number of classroom hours / week taught for a determinate period of time by non- resident faculty.

72 73 CJC PRIVATE INSTRUCTION FACULTY

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

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

72 73 STAFF & BOARD

CJC STAFF Jesse Rimler Registrar and Custodian of Records

Kristine Seinsch Proprietor, Jazzcaffè PROGRAM STAFF Karen Shepherd Financial Aid Director Susan Muscarella President and Dean of Instruction, Keiko Shinozaki California Jazz Conservatory (CJC) Administrative Assistant, CJC Japan

Rob Ewing Robert Soper Director, Jazzschool Piano Technician

Laurie Antonioli Sheryl Lynn Thomas Chair, CJC Vocal Program Director Digital Marketing Manager Jazzschool Vocal Program Elizabeth M. Williams Erik Jekabson Director of Philanthropy Director, Jazzschool Young Musicians Program

ADMINSTRATIVE STAFF CJC BOARD OF DIRECTORS

course descriptions Bill Aron Tyler Johnston Business Manager (Chairman of the Board) Julie Birch Executive Vice President, Marketing, Data Manager, Systems Administrator Dreyer’s Grand Ice Cream, Inc., retired

Lee Brenkman Susan Brand Sound Technician (Vice Chairman of the Board) Ed.D. Clinical Psychologist Tatyana Dimitrova House Manager Richard A. Lyons (Director, Secretary) Partner, Wendel, Rosen, Black & Dean, LLP, Mary D’Orazi Attorneys at Law Development Associate, Concert Booking Manager Neil Rudolph (Director and Treasurer of the Board) Paul S. Fingerote Founding Partner, Symphony Asset Management Marketing & Public Relations Director LLC (Retired); Director and Treasurer of the Marin Agricultural Land Trust Chris Hardy Staff Photographer

Max Hodes Steve Baker (Director) Director of Operations Executive Officer, Construction Survey, Inc.

Scott Latham Clifford Brown, Jr. (Director) President, Brown Radio and Audio Solutions Recruiting Director, CJC Japan Charles Charnas (Director) Zachary Mondlick Former Vice President, Associate General Counsel, Assistant to the Dean of Instruction Corporate Law, and Assistant Secretary at Kim Nucci Hewlett-Packard Company and Apple Inc. Systems Administrator, Technical Projects Director James Ellis (Director) Poulson Gluck Design Branch Manager, Graphic Design University Branch Center, Wells Fargo

Sam Priven, Michael Golds, Jerry Fiddler (Director) Alex Shapiro-Romano, Thomas Weeks Principal, Zygote Ventures Operations Staff 74 75 STAFF & BOARD

Rita Hargrave, M.D. (Director) BOARD EMERITI Geriatric Psychiatry

John Moss (Director) Denny Abrams (Director) Senior Vice President and General Counsel, Partner, Abrams-Millikan Design Construction FinancialForce.com; Former Senior Vice President Development, Emeritus and General Counsel, Commercial, Salesforce Sherie Friedlander (Director) Susan Muscarella (Director) Sherie Friedlander Insurance Agency, Emeritus Founding President and Dean of Instruction, CJC, Inc. Sy Grossman, M.D. (Director) Oakland Kaiser Permanente, Emeritus Gregg Perloff (Director) Founder and CEO, Another Planet Entertainment Vaughan Johnson (Director) M.A.T., M.D., F.A.C.S., Emeritus Jerry Povse (Director) Software Development Engineer, Microsoft Corp., James J. Keefe (Director) retired President and Owner, BCC Corporation, Emeritus

Jim Reynolds (Director) Bertram Lubin, M.D. (Director) Roastmaster emeritus at Peet’s Coffee and Tea; President and Chief executive of Children’s Past president, Pacific Coast Coffee Association Hospital, Oakland Research Institute, Emeritus

M. David Sherrill (Director) Larry Marcus (Director) CFA, CFP, Morgan Stanley Smith Barney, Managing Director,

New York, NY Walden Venture Capital, Emeritus course descriptions

Judy E. Walters (Director) Ernie Mieger (Director) Higher Education Consultant Real Estate Operative, Emeritus

Kevin Whitman (Director) Amy Orton (Director and CFO) President and CEO of Whitman Development Attorney at Law, Emeritus Company and Whitman Capital John Papini (Director), Michael Yovino-Young (Director) Real Estate Investor, Emeritus General Certified Real Estate Appraiser Walter Riley (Director) Attorney at Law, Emeritus

Danny Scher (Director) President, Dansun Productions, Vice-President Bill Graham Presents, retired, Emeritus ADVISORY BOARD Michael Zaninovich (Director) Vice President/Senior Investment Manager Tom Carr Wells Fargo , Emeritus Carole Davis Paula Forney Benny Green CATALOG PRODUCTION Charles Hamilton Stacey Hoffman Design: Poulson Gluck Design Mark Levine Editorial: Paul S. Fingerote Jason Olaine Patricia Phillips Photography: Scott Chernis Tatyana Dimitrova David Ring Chris Hardy Jayne Sanchez Robin Kempster Chuck Sher James Knox Grason Littles Merrilee Trost Hali McGrath Wayne Wallace Akida Thomas Peter Williams Printing: Krishna Copy Center 74 75 APPLICATION

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

APPLYING FOR: FALL 20 SPRING 20

PERSONAL INFORMATION

FIRST NAME MIDDLE NAME LAST NAME DATE

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

FIRST NAME MIDDLE NAME LAST NAME

( ) ( )

E-MAIL ADDRESS HOME PHONE CELL PHONE

/ / – –

BIRTHDATE (MM/DD/YYYY) SOCIAL SECURITY NUMBER

Instrument Voice

LIST INSTRUMENT(S) PLAYED AND YEARS STUDIED / PERFORMED YEARS STUDIED / PERFORMED

PERMANENT ADDRESS:

ADDRESS CITY STATE ZIP

CURRENT MAILING ADDRESS:

ADDRESS CITY STATE ZIP

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

SCHOOL LOCATION DATES ATTENDED DEGREE/DIPLOMA

1.

2.

3.

4.

5.

6.

7. 76 APPLICATION

RÉSUMÉ

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

ACHIEVEMENTS

1.

2.

3.

4.

5.

AWARDS TITLE DATE DESCRIPTION

1.

2.

3.

4.

EXTRACURRICULAR ACTIVITIES DESCRIPTION DATES

1.

2.

3.

4.

OTHER INTERESTS

DEMOGRAPHIC INFORMATION

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

ETHNICITY:

HISPANIC OR LATINO NOT HISPANIC OR LATINO

RACE:

BLACK / AFRICAN AMERICAN AMERICAN INDIAN / ALASKA NATIVE WHITE / CAUCASIAN

ASIAN PACIFIC ISLANDER

GENDER:

MALE FEMALE OTHER PREFER NOT TO SAY

PERSONAL STATEMENT

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

77 CJC’s Concentration In Audio Production (In Partnership with Fantasy Studios):

Combining the best in audio production with the best in jazz education.

When the California Jazz Conservatory looked for a partner for our concentration in Audio Production, we didn’t have to look far.

Fantasy Studios, an integral part of the Zaentz Media Center in Berkeley (and one of the most respected recording studios in the world) was our first and only choice.

Fantasy’s jazz history is a history of jazz, with legend after legend gracing Fantasy’s historic past.

And, as innovators in audio production since 1961, Fantasy has always led the way to the future of audio technology.

The Audio Production concentration curriculum includes courses ranging from an introduction to the Digital Audio Workstation to Mixing, Recording, Audio Technology, Post-Production and more (please see page 59 for the complete Curriculum Requirements Template).

You’ll be learning at the studio Billboard Magazine called “the #1 recording studio in America,” with lab fees of only $4,200 for the entire program.

If you’re interested in pursuing a career in Audio Production and in jazz, this is your opportunity to get the best of both worlds: The concentration in Audio Production (In Partnership with Fantasy Studios) at the California Jazz Conservatory.

Please contact Susan Muscarella ([email protected]) for more information and an application.

78 78 78 CJC’s Concentration Audition for CJC’s In Audio Production Advanced-Level (In Partnership with Fantasy Studios): Blue and Green Ensembles!

Combining the best in audio production with the best in jazz education.

The California Jazz Conservatory’s Blue and Green Ensembles offer advanced-level musicians demonstrating artistic leadership and academic excellence, an opportunity to strengthen musician- ship skills, develop artistic sensibility, and serve as important jazz ambassadors, while earning a Bachelor of Music Degree in Jazz Studies.

Members of our Blue and Green Ensembles immerse themselves in an intense performance schedule, overseen by a rotating faculty of the Bay Area’s top jazz teaching artists.

Ensemble members enjoy special opportunities throughout the year, including recording at Fantasy Studios, participating in national and international tours, attending master classes with leading jazz professionals, and performing at major jazz festivals and popular jazz venues.

Contact Zach Mondlick ([email protected]) for details and an audition.

79 LOCATION / DIRECTIONS

Driving Directions

From San Francisco: UNIVERSITY AVE

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

MILVIA STREET

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

AC Transit

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

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

80 C Welcome to America’s only accredited independent college totally dedicated to jazz and absolutely devoted to you.

In a musician Out an artist

COVER: SHIMPEI OGAWA ON BASS PHOTO BY CHRIS HARDY