Vocal Jazz Studies

VOCAL JAZZ STUDIES The Bachelor of Music degree in Jazz Studies is designed to produce performers of unique versatility and flexibility. The program offers a balance of instruction in traditional music and jazz performance and a thorough grounding in the fundamentals of music. Prior to acceptance into the degree program, students must pass an entrance audition. This performance audition is required of all applicants to the program. Auditions are held in room 303 in the Sacramento State Music Department (Capistrano Hall). A piano accompanist will be provided. The format for the entrance audition is as follows: 1. Performance of 2 prepared jazz standards contrasting in styles (one medium tempo or up- tempo tune in a swing style, and one ballad or Latin tune). Please have 2 copies of your selected performance pieces (1 one for the panel of professors, and 1 for the accompanist). 2. Ear training exercises a. You will hear a melodic line of three or four pitches on the piano, and you will be asked to sing them back. b. You will hear a chord with 3-4 notes and in no order will be asked to sing each individual note within that chord. c. You'll be given a starting pitch and asked to sing notes that are certain intervals away (up a 5th, down a minor 3rd, etc.). 3. Range testing – singing 2 octave major and minor scales while displaying your vocal range. 4. Quick sight-reading and part learning from vocal jazz repertoire. You will be given a short, one-page section of a vocal jazz ensemble tune, and you'll be asked to sight-read your part along with a recording of the song. Then we will work with you on the part briefly and give you another chance to read the line with the recording. Be prepared to stay focused, relaxed, and to demonstrate your flexibility and quick-learning skills, while watching your intonation and blend as well. For questions regarding the jazz voice audition, contact Gaw Vang Williams at (916) 842-0347 or e-mail at: [email protected]. THE CALIFORNIA STATE UNIVERSITY: Bakersfield • Channel Islands • Dominguez Hills • East Bay • Fresno • Fullerton • Humboldt • Long Beach • Los Angeles • Maritime Academy • Monterey Bay Northridge • Pomona • Sacramento • San Bernardino • San Diego • San Francisco • San Jose • San Luis Obispo • San Marcos • Sonoma • Stanislaus .

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Ronnie Scott's Jazz C
GIVE SOMEONE THE GIFT OF JAZZ THIS CHRISTMAS b u l C 7 z 1 0 z 2 a r J MEMBERSHIP TO e b s ’ m t t e c o e c D / S r e e i GO TO: WWW.RONNIESCOTTS.CO.UK b n OR CALL: 020 74390747 m e n v o Europe’s Premier Jazz Club in the heart of Soho, London o N R Cover artist: Roberto Fonseca (Mon 27th - Wed 29th Nov) Page 36 Page 01 Artists at a Glance Wed 1st - Thurs 2nd: The Yellowjackets N LD OUT Wed 1st: Late Late Show Special - Too Many Zooz SO o Fri 3rd: Jeff Lorber Fusion v Sat 4th: Ben Sidran e m Sun 5th Lunch Jazz: Jitter Kings b Sun 5th: Dean Brown Band e Mon 6th - Tues 7th: Joe Lovano Classic Quartet r Wed 8th: Ronnie Scott’s Gala Charity Night feat. Curtis Stigers + Special Guests Thurs 9th: Marius Neset Quintet Fri 10th - Sat 11th: Manu Dibango & The Soul Makossa Gang Sun 12th Lunch Jazz: Salena Jones “Jazz Doyenne” Sun 12th: Matthew Stevens Preverbal November and December are the busiest times Mon 13th - Tues 14th: Mark Guiliana Jazz Quartet of the year here at the club, although it has to be Wed 15th - Thurs 16th: Becca Stevens Fri 17th - Sat 18th: Mike Stern / Dave Weckl Band feat. Tom Kennedy & Bob Malach UT said there is no time when we seem to slow down. Sun 19th Lunch Jazz: Jivin’ Miss Daisy feat. Liz Fletcher SOLD O November this year brings our Fundraising night Sun 19th: Jazzmeia Horn Sun 19th: Ezra Collective + Kokoroko + Thris Tian (Venue: Islington Assembly Hall) for the Ronnie Scott’s Charitable Foundation on Mon 20th - Tues 21st: Simon Phillips with Protocol IV November 8th featuring the Curtis Stigers Sinatra Wed 22nd: An Evening of Gershwin feat.
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Vocal Jazz Ensemble and 11 O'clock Jazz Orchestra
Vocal Jazz Ensemble and 11 O’Clock Jazz Orchestra Christine Duncan and Jim Lewis, directors Wednesday, November 28, 2018 at 7:30 pm Walter Hall, 80 Queen’s Park PROGRAM But Not For Me G. and I. Gershwin Instrumental Precious E. Spalding arranged by: K. Marsh Still Travelling K. Marsh Pleasant J. Welchner Not For Human Beings Hobson’s Choice arranged by: L. Swankey Madeleine Ertel, trumpet I Want To Be Happy V. Youmans/I. Caesar arranged by: K. Marsh Vocal Jazz Ensemble Christine Duncan, director Events II and IV for Jazz Orchestra and Improvising Choir J. Lewis/C. Duncan When You Are Here H. Barstow Combined Vocal Jazz Ensemble and 11 O’Clock Jazz Orchestra Christine Duncan and Jim Lewis, directors Spectrum B. Mintzer Lately M. Schneider Energy Generation D. McCaslin Body and Soul Comp Green arranged by: R. McConnell Brandon’s First Day P. Ashwell 11 O’Clock Jazz Orchestra Jim Lewis, director Vocal Jazz Ensemble Vocalists Rhythm Section Avery Cantello Alyssa Giammaria Piano: William Hunt Kathleen O’Keefe Mairead Keogh Guitar: Dawson Chamberlain Brooklyn Bohach Emma Gilman Acoustic/Electric Bass: Anne Elgie Vannessa Gadoutsis Max Simpson Dominique Lalama Alyssa Datu Drums: Miles Fuller Isabella Hay Jenna Pinard Raquel Skilich David Bruce Abigail Mathew 11 O’Clock Jazz Orchestra Alto Saxophone Trumpet Guitar Brenon Parmar Shannon McDougall Wes White Garret Hildebrandt Lucas Udvarnoky Evan Garner Piano Tenor Saxophone Madeleine Ertel Max Donaldson Sam Demets Christian Antonacci Dermot O’Halloran Bass Trombone Leighton Harrell Baritone Saxophone Blair Scanling Thomas Steele Andrew Gormley Drums Ray Sun Evan Ng Bien Carandang For more information on U of T Jazz, visit uoftjazz.ca and follow @UofTJazz on social media.
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Vocal Jazz in the Choral Classroom: a Pedagogical Study
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2019 Vocal Jazz in the Choral Classroom: A Pedagogical Study Lara Marie Moline Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Moline, Lara Marie, "Vocal Jazz in the Choral Classroom: A Pedagogical Study" (2019). Dissertations. 576. https://digscholarship.unco.edu/dissertations/576 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2019 LARA MARIE MOLINE ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School VOCAL JAZZ IN THE CHORAL CLASSROOM: A PEDAGOGICAL STUDY A DIssertatIon SubMItted In PartIal FulfIllment Of the RequIrements for the Degree of Doctor of Arts Lara Marie MolIne College of Visual and Performing Arts School of Music May 2019 ThIs DIssertatIon by: Lara Marie MolIne EntItled: Vocal Jazz in the Choral Classroom: A Pedagogical Study has been approved as meetIng the requIrement for the Degree of Doctor of Arts in College of VIsual and Performing Arts In School of Music, Program of Choral ConductIng Accepted by the Doctoral CoMMIttee _________________________________________________ Galen Darrough D.M.A., ChaIr _________________________________________________ Jill Burgett D.A., CoMMIttee Member _________________________________________________ Michael Oravitz Ph.D., CoMMIttee Member _________________________________________________ Michael Welsh Ph.D., Faculty RepresentatIve Date of DIssertatIon Defense________________________________________ Accepted by the Graduate School ________________________________________________________ LInda L. Black, Ed.D. Associate Provost and Dean Graduate School and InternatIonal AdMIssions Research and Sponsored Projects ABSTRACT MolIne, Lara Marie.
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Cantate (Fall 2006)
Published by the California Chapter of the American Choral Directors Association - Volume Nineteen, Number One - Fall 2006 Dr. Howard S. Swan, “Dean of American Choral Directors,” died in 1995 at the age of 89. He was professionally active well 2006 Howard S. Swan Award Winner into his eighties, not only as a conductor, but also as a speaker and writer. His integrity, high view of the artistic/human role of the choral director, and compelling ability to challenge and Shirley Nute inspire students and colleagues to greater vision Shirley B. Nute is one of Association including secretary, and higher standards awakened the collective California’s most honored choral senior high vice president, and conscience of the choral world. It is for this rea- music professionals. She received a president. Additionally she was son that the book containing his writings and bachelor’s degree, with majors in vice president of the southern speeches is entitled Conscience of a Profession: Howard Swan, Choral Director and Teacher choral conducting and voice, from section of the California Music (Hinshaw, 1987). Robert Shaw, in his introduc- Occidental College where she stud- Educators Association. She has tion to this invaluable collection, writes, “There ied with Howard Swan. She was been a vice president of the Los isn’t a choral conductor alive who doesn’t have awarded a master’s degree received Angeles Master Chorale something to learn from Howard Swan.” from Columbia University where Associates Executive Board and Swan’s career at Occidental College in Los she sang in the New York served as co-chairperson of the Angeles spanned nearly four decades (1934- Collegiate Chorale under the direc- Associate's educational out- 1971), after which he went on to teach at tion of Robert Shaw.
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Testimonials
MATSUE-NEW ORLEANS TOMODACHI EXCHANGE Matsue Exchange Participants Matsue-New Orleans TOMODACHI EXCHANGE Ms. Yuka Ikejiri I love the music of New Orleans. I'm very happy to create more opportunities in Matsue to listen to New Orleans music and to spread awareness about our Friendship City relationship. I'd like to work towards attracting more visitors to Matsue based on this relationship. Mr. Hitoshi Kashiwai I like talking about travels and cuisine, and being physically active, so I like taking a proactive role in conversation. I cannot speak much English, but I hope things will go well. Mr. Hiroyuki Katayama Throughout college and graduate school, I played bass in a jazz band. Although I am not currently involved in band activities, I still love listening to jazz, funk, soul, and other kinds of African-American music. Ever since I was a student I felt that I wanted to have ties all around the world, and during graduate school I took part in a JICA internship program, during which time I lived in Bolivia for half a year. In addition, I have had shorter stays in places like China, Cambodia, and Morocco. Through my work, I have planned and reviewed projects geared towards interregional exchange with people who live in all areas of Shimane. I think this experience will be a great strength in planning and overseeing exchange activities following this program. Matsue-New Orleans TOMODACHI EXCHANGE Ms. Mika Miyamoto My specialty is playing the saxophone. I'd be very pleased to interact with the locals by performing together. I am cheerful and personable, so I hope to make a lot of friends in New Orleans.
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FREDONIA JAZZ STUDIES PROGRAM Fall 2020 Instrumental Audition Information
FREDONIA JAZZ STUDIES PROGRAM Fall 2020 Instrumental Audition Information In place of in-person instrumental auditions, students must submit audio recordings no later than Sunday, August 23, 2020 by 12:00 pm. NO EXCEPTIONS. • EVERYONE must prepare the appropriate JAZZ AUDITION MUSIC prior to their audition. • EVERYONE must submit recordings using the ONLINE AUDITION FORM. • REGISTER for the ensemble you think you might be placed in, or the ensemble that best fits your schedule at this point. You can correct your registration during the add/drop period if you are placed in a different ensemble. BIG BANDS Fredonia Jazz Orchestra (MUS 052-01) Nick Weiser, director; W 6:10 PM - 8:00 PM Fredonia New Jazz Ensemble (MUS 051-01) Nick Weiser, director; M 6:10 PM - 8:00 PM COMBOS Fredonia Instrumental Jazz Combos (MUS 050-01) Nick Weiser & Elliot Scozarro, directors; MW 3:00 PM - 3:50 PM or TBA Fredonia Vocal Jazz Combo (MUS 049-01) Nick Weiser, director; MW 3:00 PM - 3:50 PM or TBA • AUDITION RESULTS will be emailed Monday, August 24, by 10:00 AM. • REHEARSALS for all ensembles begin on or after Monday, August 24. Rehearsal for the Fredonia New Jazz Ensemble is scheduled to begin Monday, August 24 at 6:10 PM. The Fredonia Jazz Orchestra and Fredonia New Jazz Ensemble will have rooms, dates, and times posted on the roster sheets; combos will meet based on individual schedules as determined by the combo director, who will then notify you via email of rehearsal details. • Any audition questions (after you’ve read everything here!) should be referred to Dr.
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Cantate (Winter 2013)
Standing Tall & Proud 2 • Cantate • Vol. 25, no. 2 • Winter 2013 CALIFORNIA ACDA Contents Articles 5 The President’s Pen: The Beginner’s Performance by Jonathan Talberg, President 6 Open Your Hearts, Heal Your Minds by Lori Marie Rios, President-Elect 8 Why Jazz Choir? by Christine Guter, Jazz Choir R&S Chair 10 Getting It All In: Teaching “The Other” While Preparing “The Performance” by Christopher Borges, Central Region Representative 12 Embracing Change, Lessons Learned by Steven Kronauer, Male Choirs R&S Chair 16 Losing Elijah, Finding Ourselves by Anna Hamre, Community Choirs R&S Chair WHEREAS, the human spirit is elevated to a broader understanding of itself through study and performance in Of Note... the aesthetic arts, and 4 Calendar, Advertisers Index WHEREAS, 18 Regional Conference Reports serious cutbacks in funding and support have steadily eroded state 20-21 Top Five for Your Choir institutions and their programs p. 20 - Children and Community Youth throughout our country, p. 21 - Women’s Choirs 23 California ACDA Directory BE IT RESOLVED that all citizens of the United States actively voice their affirmative and collective support for necessary funding at the local, state, and national levels of education and government, to ensure the survival of arts programs for this and future generations. “We are the music makers, and CALIFORNIA ACDA MEMBERS ARE we are the dreamers of dreams.” ENCOURAGED TO PRINT THIS ACDA ADVOCACY RESOLUTION IN ALL PROGRAMS. - Arthur O’Shaughnessy LEADING THE WAY Cantate • Vol. 25, no. 2 • Winter 2013 • 3 Official Publication of the California Chapter American Choral Directors Association Calendar CANTATE Volume 25, Number 2 2013 ACDA National Conference ............................Mar.
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An Analysis of Instrumental Jazz Improvisation Development
An Analysis of Instrumental Jazz Improvisation Development Among High School and College Musicians By Christopher Michael Palmer A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Education) in the University of Michigan 2013 Doctoral Committee: Associate Professor Carlos Xavier Rodriguez, Chair Assistant Professor Kate R. Fitzpatrick-Harnish Professor Patricia M. King Professor Marie F. McCarthy Professor Edward W. Sarath © 2013 Christopher Michael Palmer All Rights Reserved DEDICATION To my parents, who introduced me to the wonderful world of music at a young age, my fascination with improvisation comes from your encouragement of creativity and play. ii ACKNOWLEDGMENTS I wish to thank the many people who contributed in a variety of ways towards helping me with my dissertation. Thank you Donald Babcock, Miles Brown, Mark Filsinger, Marty Marks, Jack Wagner, and Chad West for assisting me in recruiting participants for this study. I extend thanks to Catherine Wilensky for her statistical expertise. Thanks to the faculty and students in the University of Michigan Jazz and Contemporary Improvisation Department. In particular, I would like to thank Andrew Bishop, Patrick Booth, Ellen Rowe, Ed Sarath, Chris Smith, and Dennis Wilson. Your willingness to share your time and expertise is deeply appreciated. I am indebted to the guidance of my dissertation committee, led by Carlos Xavier Rodriguez, for helping me develop and articulate my ideas regarding the development of improvisation achievement. I also wish to thank Colleen Conway, Kate Fitzpatrick-Harnish, Pat King, Marie McCarthy, and Betty Anne Younker for enriching discussions and learning experiences in your classes.
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A Cappella Ear Training: Bringing Theory and Aural Skills Together Via
australian asociety s for mumsic A cappella ear training: Bringing e ducation incorporatede theory and aural skills together via singing in a jazz program environment Helen Russell University of Southern Queensland Abstract As jazz study has become an established branch of the tertiary music landscape, disquiet has arisen in some quarters about the “mechanical” way in which improvisation is taught. This study examined the ways in which singing in an a cappella harmony group affected the improvisational abilities of tertiary level jazz students. Over three semesters, students participated in a method developed by the author known as “A cappella Ear Training” (AET). AET was used to test the author’s assumption that learning to sing in harmony with other voices and without recourse to the mechanics of any instrument would improve the ability of the students to internalize the theoretical information with which they were being presented in all areas of the course. The research used a qualitative approach, and drew on data generated through participant-observation and interview techniques. Students were observed throughout the course, with the author making field notes on the practice of the class session. Further interviews with some participants were conducted to ascertain the students’ perception of the AET approach. Analysis of the data confirmed that AET enabled the development of a theoretically informed practice whereby the participating students came to recognize concepts in practice and performance. Keywords: A cappella, ear training, harmony, improvisation, jazz, musicianship, theory. Background This paper seeks to position the A cappella Ear Training (AET) method as a rejection of the As an instrumentalist I have always mediated dualism of ear or eye, and suggests that the two between the notes on the page and my instrument are mutually supportive.
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92 Downbeat June 2017 40Th Annual
92 DOWNBEAT JUNE 2017 40TH ANNUAL Brightest The Best Student Musicians of 2017 JUNE 2017 DOWNBEAT 93 Theresa Chen of the Eastman School of Music earned an Outstanding Composition accolade at the Graduate College level in the category Original Composition–Small Ensemble. Welcome to the 40th Annual DownBeat Student Music Awards Eastman New Jazz Ensemble, Eastman School of Music, Rochester, New York THIS SECTION IS ALL ABOUT YOUNG problems are compounded by one person talent. The annual DownBeat Student or group’s inability to view an issue from Features Music Awards (SMAs) provide a show- another, opposing perspective, we should case for some of the world’s most talent- all take a moment to reflect on the values 100 JAZZ INSTRUMENTAL SOLOIST ed young musicians—from the junior that are promoted in a music classroom. high level all the way up to graduate col- As students are learning about the 106 LARGE JAZZ ENSEMBLE lege students. We are proud to highlight technical aspects of making music, they and encourage the musical endeavors of also learn about democracy, equality, col- 114 VOCAL JAZZ SOLOIST all our competitors. laboration, cooperation and the devel- For 40 years, the SMAs have been a opment of invididual contributions that 118 BLUES/POP/ROCK GROUP stepping stone for many of the world’s enhance the efforts of the collective. They greatest musicians. Among the notewor- also learn to respect colleagues who might 122 JAZZ ARRANGEMENT thy SMA competitors over the decades have different backgrounds and opinions are such major artists as Norah Jones, than they do.
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Notice of Press Event - June 15Th
June 11 – 19, 2010 www.rochesterjazz.com Ninth Edition For Immediate Release June 7, 2010 Notice of Press Event - June 15th Rochester One of Only Three Cities in the World to Preview Copenhagen Jazz Festival Experience WHEN & WHERE Tuesday June 15th 5:00 – 5:30 p.m. at Max of Eastman Place Hospitality Tent, adjacent to the restaurant on Jazz Street WHAT The Xerox Rochester International Jazz Festival is pleased to welcome the Copenhagen Jazz Festival Experience to Rochester. Rochester is one of only three cities in the world – the others being Berlin and London - to be selected to give people a preview of Copenhagen Jazz Festival. Three artists from the Copenhagen Jazz Festival Experience are performing at this year’s Xerox Rochester International Jazz Festival: Palle Mikkelborg at Lutheran Church on June 17, Little Red Suitcase at Xerox Auditorium on June 18, and Ibrahim Electronic at Montage on June 19. With close to a hundred venues and close to a thousand concerts over ten days in July, the Festival transforms the Danish capital into a European jazz capital. Americans can check out the festival when it goes “on tour” in the United States with a selection of the best of the Danish jazz scene. The other cities WHO Kenneth Hansen, artistic director of Copenhagen Jazz Festival RSVP Please RSVP to Jean Dalmath at [email protected] if you plan on attending the press event. Sponsors Xerox, City of Rochester, M&T Bank, Monroe County Executive Maggie Brooks, the Democrat and Chronicle, Eastman School of Music, Rochester Plaza Hotel, Brooklyn Brewery, Michelob, Spaten Beer, Verizon Wireless, The Community Foundation, 13WHAM TV, Rochester General Health System, Visit Rochester, Mercury Print Productions, SUNY Brockport, ADMAR, Presentation Source, AirTran, DownBeat Magazine, Constellation, Max of Eastman Place, House of Guitars, MidTown Athletic Club.
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Vocal Jazz Soloist
’S Jazz Education Hall of Fame José Diaz YOUNG Page 118 STARS SHINE Jazz Education Achievement Awards Kent Devereaux THE BEST STUDENT Page 121 Steve Sveum MUSICIANS OF 2014 Page 123 Alto saxophonist Patrick Bartley, a student at the Manhattan School of Music, is this year’s Undergraduate College winner in the category Jazz Instrumental Soloist. JUNE 2014 DOWNBEAT 95 BRIAN HATTON 37th Annual Student Music Awards Fantasy V, Jazz Soloist Brubeck Institute Junior High School Winner Esteban Castro Piano Spring School Oscar Perez Tenafly, NJ Junior High School Outstanding Performance Gus Hurteau Vibes Westlake Middle School Randy Porter Oakland, CA High School Winners Fernando Ferrarone Trumpet & Alto Saxophone Felix Varela Senior High School Daniel Strange Miami, FL Zoe Obadia Cole Davis Dan Gailey Trio Collective Lawrence, KS Alto Saxophone Bass Bloomington High School North LaGuardia High School Janis Stockhouse Glen Ridge High School Nick Hetko Kevin Lagos Kevin Blancq Bloomington, IN Piano Glen Ridge, NJ New York, NY University of Miami Josh Bermudez Martin Bejerano Performing Arts High School Outstanding Guitar Coral Gables, FL High School Winner Performances New World School of the Arts Jim Gasior Graduate College Winners Precollege Combo Anton Derevyanko Miami, FL Manhattan School of Music José Valentino Tenor Saxophone Jeremy Manasia Medfield High School Andy Arditi Piano, Flute, Saxophone New York, NY Douglas Olsen Tenor Saxophone University of South Florida Medfield, MA Colburn School of the Arts Dr. David Williams Lee Secard Tampa, FL Performing Arts High School Andrés Rovira Los Angeles, CA Outstanding Performances Piano Aaron Hedenstrom Paideia School Undergraduate Saxophone BTW Jazz Combo I ‘13 College Winner Kevin Bales University of North Texas Booker T.
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