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California Jazz Conservatory Academic Calendar 2014 – 2015*

Spring Semester 2014

Auditions for Spring 2014 By Appointment

Academic and Administrative Holiday Jan 20

First Day of Spring Instruction Jan 21

Last Day to Add / Drop a Class Jan 31

Academic and Administrative Holiday Feb 17

Spring Recess March 24 – March 30

Auditions for Fall 2014 By Appointment

Last Day of Instruction May 11

Final Examinations and Juries May 12 – 16

Commencement May 17

Fall 2014 Enrollment Deposit Due On or before June 1

Fall 2014 Registration On or before August 4

Fall Semester 2014

Auditions for Fall 2014 By Appointment

New Student Orientation Aug 14

First Day of Fall Instruction Aug 18

Academic and Administrative Holiday Sept 1

Last Day to Add/Drop a Class Sept 2

Academic and Administrative Holiday Nov 24 – Nov 30

Spring 2015 Enrollment Deposit Due On or before Dec 1

Spring 2015 Registration Jan 5 – 9

Last Day of Instruction Dec 7

Final Examinations and Juries Dec 8 – 14

Commencement Dec 20

Winter Recess Dec 15 – Jan 19

Spring Semester 2015

Auditions for Spring 2015 By Appointment

Academic and Administrative Holiday Jan 19

First Day of Spring Instruction Jan 20

Last Day to Add / Drop a Class Feb 3

Academic and Administrative Holiday Feb 16

Spring Recess March 23 – March 29

Auditions for Fall 2015 By Appointment

Last Day of Instruction May 10

Final Examinations and Juries May 11 – 15

Commencement May 16

Fall 2015 Enrollment Deposit Due On or before June 1

Fall 2015 Registration August 3 – 7

* Please note: Edition 14 of the CJC 2014–2015 General Catalog

covers the time period of July 15, 2014 – July 14, 2015.

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WELCOME TO THE CALIFORNIA JAZZ CONSERVATORY!

The 2014 – 2015 academic year begins with some exciting news:

• AccreditationbytheNationalAssociationofSchoolsofMusic(NASM)

• Anewinstitutionalname—CaliforniaJazzConservatory(CJC)

• Aworldrenownedartist-in-residence—jazzpianistBennyGreen

It’sbeensaidthatallgoodthingscomeinthrees.Inlinewiththisfamiliarproverb,theserecentdevelopmentsaresimplygroundbreaking.

First, accreditation signifi es that the institution has met the rigorous artistic, academic and administrativestandardssetbyNASM.AccreditationwillsoonenableustoparticipateinU.S.governmentfinancialaidprogramsandwillalsoallowustoadmitstudentsfromabroad.Next,we’veadoptedanorganizationalnamethatbestreflectsourmissionastheonlyindependentmusicconservatorydevotedtothestudyandperformanceofjazzandrelatedstylesofmusicinthecountry.Third,ourstudentswillnowhavetheopportunitytolearndirectlyfromoneofthecountry’smostreveredjazzpianists—BennyGreen—anauthenticlivinglegendwhoexemplifiestheultimateinartisticexcellence.

Ourmomentumwillcontinuetogrowthisyear,allowingustobringyoutheverybestinjazzeducationandperformance.PleasejoinusbytakingadvantageofthemanyexcitingopportunitiestheCaliforniaJazzConservatoryhastoofferyouthisyear!

Susan Muscarella Founding President and Dean of Instruction, CJC Inc.

CALIFORNIA JAZZ CONSERVATORY 2087 Addison Street • Berkeley, California 94704

phone: 510.845.5373 • fax: 510.841.5373

web: www.cjc.edu

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The Bachelor of Music Degree in Jazz Studies

Curriculum Requirements . . . . . . . . . . . . . . . . . . . . 20

Residency Requirements . . . . . . . . . . . . . . . . . . . . . 20

JuriesandSeniorProject . . . . . . . . . . . . . . . . . . . . .20

Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

CoreCourses:InstrumentalTrack . . . . . . . . . . . .21

CoreCourses:VocalTrack. . . . . . . . . . . . . . . . . . . . .21

Elective Courses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

GeneralStudiesCourses. . . . . . . . . . . . . . . . . . . . . .21

IndependentStudy . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

KeyboardProficiency. . . . . . . . . . . . . . . . . . . . . . . . . .22

WorkshopsandMasterClasses. . . . . . . . . . . . . . .22

Curriculum Requirements Template . . . . . . . . . . 23

Course Descriptions

CourseNumbering . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Musicianship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Private Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

InstrumentalPerformanceEnsemble . . . . . . . .34

Vocal Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

MusicTechnology . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

BusinessofMusic . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

RecordingArts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

SeniorProject. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

DepartmentofGeneralStudies. . . . . . . . . . . . . .38

CJC Faculty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

CJC Program and Administrative Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

CJC Board of Directors and Advisory Board . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Application for Admission . . . . . . . . . . . . . . . . . . . . . . 59

Directions to the CJC . . . . . . . . . . .InsideBackCover

TABLE OF CONTENTS

Academic Calendar . . . . . . . . . . . . Inside Front Cover

About the California Jazz Conservatory

MessagefromthePresident . . . . . . . . . . . . . . . . . .1

History and Program . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Vision,Mission,GoalsandObjectives. . . . . . . .4

StateLicensure. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

Accreditation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

Questions or Complaints . . . . . . . . . . . . . . . . . . . . . . 6

FacilitiesandStudentServices. . . . . . . . . . . . . . . .6

Library. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

Record-Keeping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

General Information

AdmissionRequirements . . . . . . . . . . . . . . . . . . . . .8

Auditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

AuditionRequirements. . . . . . . . . . . . . . . . . . . . . . . .9

PlacementExaminations . . . . . . . . . . . . . . . . . . . . . .9

TuitionandSupplementalFees . . . . . . . . . . . . . .9

Private Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

FinancialAssistance. . . . . . . . . . . . . . . . . . . . . . . . . .12

Scholarships. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

WorkStudy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

CodeofAcademicIntegrity. . . . . . . . . . . . . . . . . .12

Code of Conduct . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

AcademicStanding. . . . . . . . . . . . . . . . . . . . . . . . . . .14

AcademicProbation, SuspensionandDismissal. . . . . . . . . . . . . . . . . . .14

Housing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

InternationalStudents. . . . . . . . . . . . . . . . . . . . . . . .15

Policies

StudentEnrollmentAgreement . . . . . . . . . . . . .15

Cancellations,WithdrawalsandRefunds . . . .15

LeavesofAbsence. . . . . . . . . . . . . . . . . . . . . . . . . . . .16

Attendance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

GradingandAcademicPenalties. . . . . . . . . . . . .16

Adding,DroppingandWithdrawing from Courses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

ChallengeExaminations. . . . . . . . . . . . . . . . . . . . . .17

CreditforPriorExperientialLearning . . . . . . .17

Credit Hour Policies . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Transfer Credit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

NoticeRegardingTransferability of Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

FacultyAdvisors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

StudentGrievances. . . . . . . . . . . . . . . . . . . . . . . . . . .19

InjuryPrevention. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

ABOUT THE CALIFORNIA JAZZ CONSERVATORY

History and ProgramFoundedin2009astheJazzschoolInstitute,theCaliforniaJazzConservatoryisaprivateindependent music conservatory offering the aspiring professional musician a progressive educationandperformancebaccalaureatedegreeprograminJazzStudies.

TheCJCislocatedinthehistoricKressBuildingonAddisonStreetintheheartoftheDowntownBerkeleyArtsDistrict.PartofthevibrantEastBayperformingartsscene,theCJCissituatedincloseproximitytotheBerkeleyRepertoryandAuroraTheatres,Freight&Salvage,andtheworld-classperformingartspresenterCalPerformancesattheUniversityofCalifornia,Berkeley.OnlyhalfablockfromBART,theCJCiseasilyaccessiblebypublictransportationandjust20minutesawayfromSanFrancisco.

Anonprofit501(c)(3)corporation,theCaliforniaJazzConservatoryoffersinstrumentalistsandvocalists a challenging core curriculum of performance,jazztheoryandimprovisation,eartraining, composition, arranging, transcription and analysis, and music history courses taught byprofessionalartistsandeducatorsinjazzand related styles of music.

TheCJCholdsitsstudentsaccountabletothehighest artistic, academic and ethical standards atalltimes.Evaluationofstudents’develop-mentisbasedontheirperformanceinclasses,juriesandconcertsandculminatesinaSeniorProject,afinalconcertopentothepublic,thatincludes a synthesis and demonstration of all of theirartisticandacademicworkthroughoutthe4-yeardegreeprogram.

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CJCTheCaliforniaJazzConservatoryoffersstudents:

• asynergistic,comprehensivejazzeducationand performance program for today’s professionaljazzinstrumentalistandvocalist

• smallclassestaughtbyprofessionalartistsandexperiencededucatorsinthefieldofjazzand related styles of music

• opportunitiestostudywithpreeminentvisiting artists and educators

• performanceopportunitiesatYoshi’s,TheFreight&SalvageandotherprominentBayAreavenues;workshopopportunitieswithSFJAZZresidentandvisitingartists

• opportunitiestorecord,studyandperformattheworld-renownedrecordingfacilityFantasyStudios

• accesstoimportantnetworkingopportunities

• easyaccesstotheSanFranciscoBayArea’sthrivingartssceneviapublictransportation

The California Jazz Conservatory is an Equal Opportunity Employer. It does not discriminate in the admissions process or in the awarding of fi nancial aid on the basis of race, religion, sex, national origin, or disability.

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GOALS AND OBJECTIVES

ThefollowingfivegoalsandcorrespondingobjectivesservetoguidetheCJC:

1. Promoting Excellence in EducationTheCJCstrivestopromoteexcellence inmusicscholarshipandperformanceby:

• Establishingandmaintainingthehighestartistic and academic standards and promotingastrongworkethic.

• Providinganeducationalforumonpar withnationally-rankedinstitutionsofferingprogramsinjazzstudies.

• Attractingandretainingaworld-class facultyandinspiredstudentbody.

• Providingacomprehensivecurriculumandsupportive environment to develop artistic sensibilityandmusicologicalinsightrelevanttotheaspiringjazzprofessionalandthe jazzenthusiast.

• Providingaforumtoexercisefreedom ofexpressionbothindividuallyandasamemberofagroupinthedemocratically-structuredparadigmofthejazzensemble.

• Maintainingastate-of-the-art,aestheticallypleasing,one-stop-shopping-for-jazzfacility,housing classrooms, practice rooms, intimateperformancespace,bookand record store, and café.

2. Fostering High Ethical StandardsThe CJC strives to foster high ethical standardsby:

• Providinganenvironmentthatpromotesthedevelopmentofwell-balanced,conscientious,compassionate,forward-lookingindividualswhowillcontributetoajustsociety.

VISION TheCaliforniaJazzConservatoryaspirestobeaninternationallyrecognizedpreeminentmusicconservatory dedicated to the study and perfor-manceofjazzandrelatedstylesofmusicfromthroughouttheworld.Theinstitutioneducatesfuturegenerationstosustainthejazzartform.

MISSION TheCaliforniaJazzConservatoryisamusicconservatory providing a dynamic community of students, artists, educators, scholars and audienceswithaforumtostudy,perform,teach,research,appreciateandenjoyjazzandrelatedstylesofmusicfromthroughouttheworld.Comprisingtwodistincteducationprograms,theCaliforniaJazzConservatory,apostsecondarydegree-grantingprogram,andtheJazzschoolCommunityMusicSchool,anon-degree-grantingcommunity education program, the institution honorsthecontributionsofpastmastersandpromotesartisticinnovation,bringingtogether a diverse music community to develop practical skills,acquireartisticsensibility,realizecreativepotential and find artistic voice.

• The California Jazz Conservatory TheCaliforniaJazzConservatoryisdedicatedtothestudyandperformanceofjazzandrelated styles of music from throughout theworld,fosteringthedevelopmentoftheaspiringprofessionaljazzmusicianandbuildingaudiencestosustainthejazzartform.The CJC integrates a progressive education programleadingtoaBachelorofMusicdegreetaughtbyworld-classmusiciansandmusiceducatorswithpublicperformanceopportunities to prepare future generations forafulfillinglifeinjazz.

• The Jazzschool Community Music SchoolTheJazzschoolCommunityMusicSchoolfostersthedevelopmentoftheaspiringjazzmusicianofallagesandlevelsandbuildsaudiencestosustainthejazzartformthroughanon-degree-grantingeducationprogramintegratingclasses,short-termworkshops,artists-in-residency,andpublicperformanceopportunities.

CJC VISION, MISSION, GOALS AND OBJECTIVES

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State LicensureThe CJC is a private institution approved to operatebytheBureauofPrivatePostsecondaryEducationintheStateofCaliforniaassetforthinthe California Private Postsecondary Education Actof2009(CEC)andTitle5,Division7.5of theCaliforniaCodeofRegulations(CCR).TheActisadministeredbytheBureauforPrivatePostsecondary Education, under the Department ofConsumerAffairs.Bureauapprovalmeanstheinstitutionisincompliancewithandmeetstheminimum standards pursuant to the California PrivatePostsecondaryEducationActof2009.

BankruptcyDisclosure:theCJChasneverfiled abankruptcypetition,operatedasadebtorinpossession,orhadabankruptcypetitionfiledagainst it.

AccreditationTheCaliforniaJazzConservatoryisan accreditedinstitutionalmemberoftheNationalAssociationofSchoolsofMusic(NASM). NASMisrecognizedbytheUnitedStatesDepartment of Education.

“NASM,foundedin1924,isanorganization of schools, conservatories, colleges and universitieswithapproximately644accreditedinstitutionalmembers.Itestablishesnationalstandards for undergraduate and graduate degrees and other credentials.” http://nasm.arts-accredit.org/

Please note: This program does not lead to positions in a profession, occupation, trade, or career field requiring licensure in the State of California.

Questions or ComplaintsAnyquestionsastudentmayhaveregardingthiscatalogthathavenotbeensatisfactorilyansweredbytheinstitutionmaybedirected totheBureauforPrivatePostsecondary Education at:

Address 2535CapitolOaksDrive Suite400,Sacramento,CA95833 P.O.Box980818,West Sacramento,CA95798-0818

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3. Honoring Historical and Cultural HeritageThe CJC strives to honor the historical and culturalheritageofthejazzcanonby:

• Recognizingthehistoricalandmulticulturaloriginsofjazz.

• Highlightingtheprominentrolethejazz artformhasplayedinshapingAmerican historyandculture;and

• Offeringcurriculadesignedtoinformanddevelop an appreciation of the relationship betweenjazzandAmericancultureand theglobaljazzdiaspora.

4. Nurturing Diversity in All of its FormsThe CJC strives to create a diverse, all-inclusive,close-knitcommunityby:

• Seekingandembracingtheculturalrichnessof a diverse constituency of students, faculty, staff and greater music community.

• Implementingtargetedcommunity outreach efforts and providing scholarship opportunities to deserving students in need of financial assistance.

• Providinganurturingenvironmentfor students, teachers, scholars and artists inthejazzfield.

• Providinganinvitingsettingforfamily,friends, and the greater music community tocelebratestudents’accomplishmentsandenjoylisteningtojazzinitsmanyforms.

5. Developing Collaborations TheCJCstrivestobuildrelationshipsandcreatecollaborationswithartisticandeducationalconstituenciesby:

• Providingaccesstolocal,national andglobalperspectivesandnewandmeaningful educational and artistic resources.

• Creatingopportunitiesforstudentandfacultyexchangeswithmusiceducationprogramslocally, nationally and internationally.

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Web site address www.bppe.ca.gov

Telephone (888)370-7589orFax:(916)263-1897 (916)431-6959orFax:(916)263-1897

AstudentoranymemberofthepublicmayfileacomplaintaboutthisinstitutionwiththeBureauforPrivatePostsecondaryEducationbycalling(888)370-7589(toll-free)orbycompletingacomplaintform,whichcanbeobtainedontheBureau’sinternetwebsite:www.bppe.ca.gov.

Asaprospectivestudent,youareencouragedtoreviewthiscatalogpriortosigninganenrollmentagreement.YouarealsoencouragedtoreviewtheSchoolPerformanceFactSheet,whichmustbeprovidedtoyoupriortosigningan enrollment agreement.

Facilities and Student ServicesThe CJC is housed in a 7,500 square foot aestheticallypleasingfacility,custom-designedforuseasamusicconservatory.Studentshaveaccesstofullyequippedclassrooms(withpianos, drum sets, amplifi ers and sound systems),practicerooms,abookstoreandanintimate performance space.

Studentservicesinclude:theavailabilityofcounseling and mental health services around theclock;freeticketstotheCJCyearroundconcertseries;tworegularly-pricedworkshopsfreeofchargeeachsemester;andongoingnetworkingopportunitiesrelevanttostudents’professionalaspirations.TheJazzcaffè,anon-sitecaféspecializinginpanini,saladsandawiderangeofespressodrinks,isopentostudents7daysaweek.TheCJCprovidesfreewirelessInternetaccess.

Please note: All class sessions are held at 2087 Addison Street, Berkeley, California. Class sessions are not held at any other location at this time.

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Library

Studentshaveaccesstoanextensivemusiccol-lectionhousedintheArtandMusicDepartmentattheBerkeleyPublicLibraryandtheJeanGrayHargroveMusicLibraryontheUniversityofCalifornia,Berkeleycampus,bothlocatedwithinwalkingdistanceoftheCJC.Studentswillbegivenassistancewithobtaininglibrarycardstobothlibraries.

The Art and Music Department at the Berkeley Public Library. The scope of the music collectionattheArtandMusicDepartmentrunsfromAlbinonitoZouk—oncompactdisc,vinylandscore.Therichjazzcollectionrangesfromreis-sues of vintage recordings to contemporary offeringsfromthenextgenerationofjazzmas-ters.Musicfromaroundtheglobeisavailablein the audio collection in all formats.

TheCDcollection,startedinSeptember1985,nowincludesover14,000titles.TheArtandMusicDepartmentmusiccollectionalsoincludes roughly 6,000 vinyl records. Classical, opera,jazz,world,andpopularmusicarerepresented. Printed music scores, a range of musicbiographiesandbooksonmusictheoryandperformancearereadilyavailable.

TheArtandMusicDepartmentsubscribesto over forty periodicals covering a variety of musical genres, specifi c instruments, and recorded sound. Their periodical collection also includestheimpressiveGreenwoodPressjazzperiodicals collection, a microfi lm archive of the historicaljazzperiodical,containingreviewsandeventsdatingbacktothe1920s.

ElectronicresourcesavailablethroughtheBerke-leyPublicLibrarywebsiteallowpatronstolistenonlinetorecordingsofclassicalandcontempo-rarymusicfromaroundtheworld.

TheArtandMusicDepartmentcanbefoundonthe5thflooroftheBerkeleyPublicLibraryandisopenMondays,12–8pm;Tuesdays,10am–8pm;Wednesdays,Thursdays,FridaysandSaturdays,10am–6pm;andSundays,1pm–5pm.Visit www.berkeleypubliclibrary.org for a complete schedule of holidays.

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Studentsmayborrowupto50itemsatanygiventimewiththeirBerkeleyPublicLibrarycard.ThoseitemsnotavailableonsitemaybeacquiredthroughLink+.

Jean Gray Hargrove Music Library. Founded in 1947asabranchoftheUniversityLibrary,theMusicLibrarywaslocatedonthesecondfloorofMorrisonHallfrom1957untilJuly6,2004,whentheJeanGrayHargroveMusicLibraryopenedtothepublic.Itscollectionstodaycontainsome180,000volumesofbooksandprintedmusic,50,000 sound and video recordings, and 30,000 microformsinadditiontoextensivespecialhold-ings of manuscripts, rare materials, and archives. The collection serves the diverse teaching and researchneedsoftheUCBerkeleyDepartmentofMusic,whichoffersageneralundergraduatemajorandgraduateprogramsinmusicology,ethnomusicology,andcomposition,aswellasembracingavarietyofperformanceactivities.

ThemajorityofmaterialsintheHargroveMusicLibrary—withtheexceptionofsoundand video recordings, periodicals, microforms, andspecialcollections—circulateforuseout-sidethelibrary.BorrowingmaterialsrequiresacurrentUCBerkeleyLibrarycard.BorrowersmusthaveacurrentlibrarycardissuedbythePrivilegesDeskatDoeLibrary.Visitorsarewelcometousecollectionson-site.

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Record KeepingTheRegistrarandCustodianofRecordsmain-tains a secure fi le for each student that contains pertinentinformationincludingbutnotlimitedto:theApplicationforAdmission;transcriptsfromtheCJCandotherinstitutions(includingverifi cation of high school completion or the equivalency);documentsevidencingastudent’spriorexperientiallearning;classschedulingandregistration;degreerequirementsandprogressreports;attendance;grading;documentsrelatingtotuition,financialassistanceandscholarships;recordsofthedatesofenrollment,withdrawal,leavesofabsence,suspensionand/ordismissalfromtheinstitutionandgraduation;copiesofanyofficialadvisorynoticesorwarningsregardingthestudent’progress;resultsofjuriesorotherexami-nations;copiesofrecordingsprograms,awardsorotheraccomplishmentsofnote;and/orevalua-tions, suggestions and/or complaints.

The CJC shall maintain pertinent student records for a period of at least 5 years from the student’s dateofcompletionorwithdrawal.Transcriptsdocumentingthecompletionofthedegreewillbemaintainedpermanently.

Please note: Student records are strictly confi dential. A student wishing to disclose their educational record to any other party must fi rst submit written proof of authorization to the Registrar and Custodian of Records. Authorization may be revised at any time throughout a student’s tenure at the CJC.

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5.ResultsoftheEarTrainingandSightSinging,JazzTheoryandImprovisationandEnglishCompositionPlacementExams.(SeeAuditions, Audition Requirements and Placement Examinations,nextsection).

6.Forinternationalstudents,aninternet-bassedTOEFL(iBT)score.AllinstructionattheCJCoccursinEnglish.AhighlevelofEnglishprofi-ciencyisrequiredforadmission.Allnon-nativespeakersmustsubmitanofficialscorereportfromtheTestofEnglishasaForeignLanguage(TOEFL)priortoenrolling.Applicantswhohavecompleteda4-yeardegreeprogramatanEnglish-speakingcollegeoruniversitymayrequestTOEFLexemption.TheCJCacceptsinternet-basedTOEFL(iBT)scoresonly.Pleasedonotsubmitpaper-basedTOEFL(pBT)scores.Applicantsmustreceiveascoreof75orhighertobeadmittedintotheCJC.TOEFLscoresarevalidfortwoyearsafterthetestdateandthereisnolimittothenumberoftimesthetestmaybetaken.

Pleasesendallapplicationmaterialsalongwithanon-refundable$100ApplicationFeeto:

California Jazz ConservatoryOffi ce of Admission2087 Addison Street

Berkeley, CA 94704

AuditionsAllfreshmenandtransferstudentsapplyingfor admission to the CJC must come for a live auditionpriortoacceptance.Auditionsareheldon-site.PleaseemailorcalltheRegistraratjosh@cjc.eduor510.845.5373toscheduleanaudition appointment. Please note: pre-recorded performance samples on a DVD are accepted in lieu of a live audition for students living more than 150 miles from the CJC.

GENERAL INFORMATION

Admission Requirements BothincomingfreshmenandtransferstudentsareacceptedintotheCJCbasedonthefollowing:

1.Acompletedapplicationformincludingapersonal statement outlining your past accomplishments,futureobjectivesandhowandwhyyoubelievetheCJCwillhelpyourealizethem.

2.Anofficialhighschooltranscript.PleaseNote:Allstudentsmusthaveasatisfactoryacademic record and have earned an overall GPAof2.0orhighertobeadmittedtotheCJC.TranscriptsshouldbesentdirectlytotheCJCattheaddressbelow.Photocopiesarenotaccepted.Alsonote:theCJCdoesnotacceptability-to-benefitstudents.

3.Twooriginallettersofrecommendation,oneofwhichisfromaprofessionalmusicianand/ormusiceducatorfamiliarwithyourworkandprofessionalobjectives.Please note: photocopies are not accepted.

4.Aliveaudition.Studentslivingmorethan150milesfromtheCJCmaysubstituteaDVDoftheirplayinginlieuofaliveaudition.(SeeAuditionandPlacementExam,nextsection).

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Audition RequirementsAliveauditionisrequiredforallfreshmenandtransfer students applying for admission to the CJC.Studentsmustbepreparedtoperformandimproviseoverthefollowing:amedium-tempo12-barblues;aballad;aLatintune;andanup-tempojazztuneoftheirchoice.Theywillalso begivenashortselectiontosight-read.

Auditionsareapproximately30minutesinlengthandmaybescheduledthroughouttheacademic year. Please email or call the Registrar atjosh@cjc.eduor510.845.5373toscheduleanaudition appointment. Please note: pre-recorded performance samples on DVD are accepted in lieu of a live audition for students living more than 150 miles from the CJC.

Placement ExaminationsAllfreshmanandtransferstudentsmusttakeplacementsexamsinEarTrainingandSightSinging,JazzTheoryandImprovisation,andEnglishComposition.Placementexamsarenotgraded;theyservetodetermineappropriateplacementinEarTrainingandSightSinging, JazzTheoryandImprovisation,andEnglishComposition.PlacementExaminationsareadministereddirectlyfollowingtheaudition.TheMusicianshipplacementexamisapproximately30minutesinlength;theJazzTheoryandImprovisationplacementexamisonehourinlength;andtheEnglishCompositionplacementexamisonehourinlength.

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Tuition and Supplemental Fees

• Tuition Tuitionforthe2014–2015academicyearis$525/creditforfull-timestudents(studentsenrolledin 12credits/semesterormore);tuitionis$550/creditforpart-timestudents(studentsenrolledinfewerthan12credits/semester).Privateinstructionis$1200/semester.

Tuitionisdueatthetimeofregistration.(See registrationdateslistedintheAcademicCalendarontheinsidefrontcoveroftheGeneralCatalog.)Please note: Students are subject to a late payment fee of $50/month. Failure to pay tuition and fees on time may result in dropping students from classes. Students with overdue tuition may not register for succeeding semesters. Transcripts will not be released to students with outstanding tuition.

• Application FeeStudentsmustpayaone-time, non-refundable ApplicationFeeof$100.TheApplicationFeeissubmittedalongwiththeApplicationforAdmission.

• Registration FeeAnon-refundableRegistrationFeeof$50ischarged per semester.Studentsregistering afterthedeadlinewillbechargedalateregistrationfeeof$50(pleaseseeAcademicCalendar2013-2014ontheinsidefrontcover forregistrationdeadlines).

“ There’s a natural overlap in content among coursework, private lessons

and performance classes, so I’m always connecting the dots.”

Stephen DuPraw CJC Student

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• Student Tuition Recovery Fund (STRF): Students are required to pay the non-refundable state-imposed assessment for the Student Tuition Recovery Fund (STRF) of $.50 per every $1,000 of tuition each semester. Californialawrequiresthatuponenrollmentafeebeassessedrelativeto the cost of tuition. These fees support the StudentTuitionRecoveryFund(STRF),aspecialfundestablishedbytheCaliforniaLegislaturetoreimbursestudentswhomightotherwiseexperi-ence a financial loss as a result of untimely school closure. Institutional participation is mandatory.

Youmustpaythestate-imposedassessmentfortheStudentTuitionRecoveryFund(STRF)ifallofthefollowingappliestoyou:

1.Youareastudentinaneducationalprogram,whoisaCaliforniaresident,orareenrolledinaresidency program, and prepay all or part of your tuitioneitherbycash,guaranteedstudentloans, or personal loans, and

2.Yourtotalchargesarenotpaidbyanythird- party payer such as an employer, government program or other payer unless you have a separate agreement to repay the third party.

YouarenoteligibleforprotectionfromtheSTRFandyouarenotrequiredtopaytheSTRFassess-ment,ifeitherofthefollowingapplies:

1.YouarenotaCaliforniaresident,orarenotenrolled in a residency program, or

2.Yourtotalchargesarepaidbyathirdparty,such as an employer, government program or other payer, and you have no separate agreement to repay the third party.

TheStateofCaliforniacreatedtheStudentTuitionRecoveryFund(STRF)torelieveormitigateeco-nomiclossessufferedbystudentsineducationalprogramswhoareCaliforniaresidents,orareenrolled in a residency programs attending certainschoolsregulatedbytheBureaufor Private Postsecondary Education.

• Enrollment DepositNewstudentsarerequiredtopayanon-refundableEnrollmentDepositof$100atthetime of their acceptance into the program. Returningstudentsarerequiredtomakeanon-refundableEnrollmentDepositof$200onorbeforeJune1,priortoeachfallsemester,andonorbeforeDecember1,priortoeachspringsemester. The Enrollment Deposit is credited to students’ tuition for the upcoming semester. Alatefeeof$100permonthwillapplytoanEnrollment Deposit made after the due date.

• Course MaterialsStudentsshouldexpecttopayapproximately$300fortextsandsupportingcoursematerialsper semester.

• Computer RequirementsInstructionattheCJCutilizesmanymoderntechnologies and internet resources, and all studentsareexpectedtoownorhaveaccesstoacomputerrunningMacOS10.5orWindows7atminimumwithhigh-speedinternetaccessforresearch,communicationandcoursework.Formusictechnologycourses,alaptopwitharecentversionofSibeliusandProToolsisrequired to participate. If purchasing a computer andsoftwarespecificallyforthisprogram,werecommendaMacintoshlaptop,astandardwordprocessingsuitesuchasMicrosoftOfficeorOpenOffice,andtheSibeliusmusicnotationprogram,formaximumcompatibilitywiththematerialandsoftwarebeingtaught.

• Library CardsCaliforniaresidentsareentitledtoaBerkeleyPublicLibrarycard.Thereisa$100annualfeeforalibrarycardfortheJeanGrayHargroveLibraryatUCBerkeley. • Challenge ExaminationsThefeeforChallengeExaminations(testingoutofacourse)is$275percourse.

• TranscriptsOfficialtranscriptsareissuedforafeeof$10pertranscript.UnofficialtranscriptsarefreeofchargeTo request a transcript, please contact the Regis-trar and Custodian of Records.

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YoumaybeeligibleforSTRFifyouarea California resident or are enrolled in a residency program,prepaidtuition,paidtheSTRFassess-ment, and suffered an economic loss as a result ofanyofthefollowing:

1.Theschoolclosedbeforethecourseof instructionwascompleted.

2. The school’s failure to pay refunds or charges onbehalfofastudenttoathirdpartyforlicense fees or any other purpose, or to provide equipmentormaterialsforwhichachargewascollectedwithin180daysbeforetheclosureofthe school.

3.Theschool’sfailuretopayorreimburseloanproceeds under a federally guaranteed student loanprogramasrequiredbylawortopayorreimburseproceedsreceivedbytheschoolpriortoclosureinexcessoftuitionandothercosts.

4.TherewasamaterialfailuretocomplywiththeActorthisDivisionwithin30daysbeforethe school closed or, if the material failure beganearlierthan30dayspriortoclosure,theperioddeterminedbytheBureau.

5.Aninabilityafterdiligenteffortstoprosecute,prove,andcollectonajudgmentagainsttheinstitutionforaviolationoftheAct.

However,noclaimcanbepaidtoanystudentwithoutasocialsecuritynumberorataxpayeridentificationnumber.

• Summary of Tuition and Supplemental Fees

—ApplicationFee(one-time,non-refundable):$100

—EnrollmentDeposit(persemester,non-refundable;appliedtotuition):$100(newstudents);$200(returningstudents)

—EnrollmentDepositLateFee(permonth):$100(SeeunderEnrollmentDeposit)

—RegistrationFee(persemester, non-refundable):$50

—LateRegistrationFee(persemester):$50

—LatePaymentFee(permonth):$50(pertermsoftheEnrollmentAgreement

—Tuition:$525/credit,full-timeenrollment; $550/credit,part-timeenrollment

—PrivateInstruction:$1200/semester

—STRFfee:0.50per$1,000oftuition (persemester);seeunderStudent TuitionRecoveryFund)

—ChallengeExaminations:$275/course

—Textbooksandsupportingmaterials: $300/semester(estimated)

—Libraryfee(annually):$0–$100

—Transcripts:$10perofficialtranscript

• Total Program Charges

Full-timeenrollment($525/credit): $77,338(Non-pianistsandvocalists); $76,288(pianists)

Part-timeenrollment($550/credit): $80,540(non-pianistsandvocalists); $79,439(pianists)

Private InstructionStudentsarerequiredtotakefifteenone-hourprivate lessons per semester. Please contact theCaliforniaJazzConservatoryforalistofapproved private instruction faculty. The rate for privateinstructionis$1200persemesterandincludes the cost of CJC room rental. Private lessonsarescheduledonato-be-arrangedbasisbetweenstudentandteacher.All fifteen hours of private instruction must be completed within the semester in which the student is enrolled. Please note: In addition to the 8-credit Private Instruction requirement, students may choose to use 4 Elective credits toward private instruction on an instrument/voice other than their primary instrument/voice. For example, a guitarist pursuing a career as a singer/songwriter may take up to 4 Elective credits of Private Instruction in vocal technique.

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Financial Assistance / Loans CaliforniaJazzConservatorystudentswillbeeligibletoapplyforgovernment-subsidizedfinancialassistancebeginninginthefallof2014. In the interim, qualified students may apply to the CJC for a payment plan. Payment plansareapprovedonacase-by-casebasisbasedonneed.Toapplyforapaymentplanorto schedule a consultation regarding an appli-cation for a payment plan, please email the CJCatinfo@cjc.edu.Please note: student must maintain an overall grade point average of 2.0 or higher to be eligible for a payment plan.

Please note: if a student obtains a loan from a third party to pay for an educational program, the student will have the responsibility to repay the full amount of the loan plus interest, less the amount of any refund, and that, if the student has received federal student financial aid funds, the student is entitled to a refund of the monies not paid from federal student financial aid program funds. All CJC student loans must be paid in full to graduate.

Scholarships CJCawardsunsolicitedpartialscholarshipsonoccasiontoqualifiedstudentsbasedonacombinationofartisticmeritandfinancialneed.StudentsmustmaintainacumulativeGPAof3.0,and earn a C or higher in all classes, to remain eligibleforscholarships.Studentsreceivingascholarshipwhoearnanon-passinggradeofC-orlowerinanyrequiredcoursesareresponsibleforretakingthosecoursesattheirownexpense.

ThefollowingscholarshipsareawardedtoCJCstudentswhodemonstrateacombinationofartisticpromise,commitmenttoexcellence, andfinancialneedonanas-availablebasis:

•The Jamey Aebersold ScholarshipEstablishedinhonorofJameyAebersold, oneoftheworld’sleadersinjazzeduca-tionandperformance,theJameyAebersoldScholarshipprovidesfinancialsupportforpromising CJC students.

•The William E. Robinson ScholarshipTheWilliamE.RobinsonScholarshipisawardedtoaCJCstudentwhodemonstratescommitmenttoexcellenceinthefieldsofjazzand related styles of music.

•The Mark Murphy Vocal Jazz ScholarshipInhonorofMarkMurphy,oneoftheworld’s most original and musically gifted vocalists, theMarkMurphyVocalJazzScholarshipisgiven toaCJCvocalstudentwhodemonstratescreativity and artistic promise.

Work Study CJCofferswork-studyopportunitiesonanas-availablebasis.Work-studypositionsmayincludeaccompaniment,lightofficework,book-store staffing and more. Please inquire regarding availabilityofwork-studypositions.

Code of Academic IntegrityAcademicintegrityiscentraltoforwardingthemission,goalsandobjectivesoftheCaliforniaJazzConservatory.TheCJCiscommittedtopro-viding an environment conducive to all aspects of teaching and learning. CJC students are held to the highest moral and ethical standards and areobligatedtoconductthemselvesinaman-nerconsistentwiththeprinciplesasstatedintheCodeofAcademicIntegrityasfollows:

TheCodeofAcademicIntegrityprohibits students from engaging in any acts of academic dishonestywhatsoeverincludingbutnotlimitedto: plagiarizing; lying; cheating;and/orfraud. UndertheCodeofAcademicIntegrity:

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“ It’s not so much thinking

ahead as it is hearing ahead.”

John Gove CJC Faculty

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Plagiarizingisdefinedastakingownershipoftheworkorideaofanotherasone’sownwithoutcreditingthesource.

Lyingisdefinedasmakingafalsestate-mentwhichisintendedtodeceive.

Cheatingisdefinedasbenefittingfrom acting dishonestly or unfairly.

Fraud is defined as serving as an impostor for personal gain.

AllallegedinfractionsoftheCodeofAcademicIntegrityshouldbereportedtotheDeanofInstructioninwriting.TheDeanofInstruction,togetherwiththestudent’sinstructor,willthoroughlyreviewtheallegationsfortheirveracity,andbasedontheirfindings,willdetermine the appropriate action. Proof of violationoftheCodeofAcademicIntegritywillresult in either reprimand and a loss of credit for the assignment, loss of credit for the course, suspension for one year, or permanent dis-missal, depending on the seriousness of the offense.StudentsfoundinviolationmustmeetwiththeDeanofInstructioninpersonatwhichtimetheywillbegivenawrittennoticeciting the infraction and consequences of the offense. Anyacademicand/orfinancialpenaltieswillapply as of that date. Please note: In the case of suspension, a student is required to reapply for admission into the program as a new student (see under Admission Requirements). In the case of dismissal, a student may not reapply for admission into the program. Violation of the Code of Academic Integrity that results in either suspension or dismissal will be permanently attached to a student’s transcript.

Code of ConductThe CJC is committed to providing our colle-giate community of students, faculty and staff withanenvironmentconducivetothefreedomtoteachandtolearn—asettingthatpromotesintellectual freedom, nurtures individual creativity andself-expressionandisfreefromdiscrimina-tionofanykind.ViolationsoftheStudentCodeofConductincludebutarenotlimitedtothefollowingon-campusacts:

• Verbal,physicalorwrittenharassmentbasedon race, color, creed, religion, national or ethnicorigin,age,handicap,gender,sexualorientation or other

• Useorsaleofillegaldrugs

• Alcoholintoxication

• Smokingwithin50feetofcampus

• Disorderlyconductofanykind

• Non-consensualphysicalcontactofasexualnature

• DamagingordefacingCJCproperty or resources

• Theftorattemptedtheft

• Possessionofweaponryofanykind

AllallegedinfractionsoftheCodeofConductshouldbereportedtotheDeanofInstructioninwriting.TheDeanofInstruction,togetherwiththestudent’sinstructor,willthoroughlyreviewtheallegationsfortheirveracity,andbasedontheirfindings,willdeterminetheappropriateaction. Proof of violation of any aspect of the CodeofConductwillresultineitherreprimand,probationfortheremainderofthesemesterandsubsequentsemester,suspensionforoneyear, or permanent dismissal, depending on the seriousnessoftheoffense.StudentsfoundinviolationmustmeetwiththeDeanofInstructioninpersonatwhichtimetheywillbegivenawrittennoticecitingtheinfractionandconse-quences of the offense. Please note: Academic and financial penalties (see under Cancellations, Withdrawals and Refunds and Adding, Dropping and Withdrawing from Courses) will apply as of the date of the written notice. Please note: In the case of suspension, a student is required to reapply for admission into the program as a new student (see under Admission Requirements). In the case of dismissal, a student may not reapply for admission into the program. Violation of the Student Code of Conduct that results in either suspension or dismissal will be permanently attached to a student’s transcript.

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StudentsenrolledintheCJCareupheldto the highest standards of conduct, and whoascitizenswithinoursociety,mustobeyfederal,stateandlocallaws.

Academic StandingUndergraduatestudentsareclassifiedaseitherLowerorUpperDivision.

LowerDivisionstudentsinclude:

Freshman—Studentswhohavecompleted0–33creditsofpassingworkandhavepassedtheirfreshmanjury.

Sophomore—Studentswhohavecompleted34–67creditsofpassingworkandhavepassedtheirsophomorejury.

UpperDivisionstudentsinclude:

Junior—Studentswhohavecompleted68–101creditsofpassingworkandhavepassedtheirjuniorjury.

Senior—Studentswhohavecompleted102–136creditsofpassingworkandhavepassedtheirseniorjury.

Academic Probation, Suspension and DismissalAllstudentsmustmaintainaminimumcumulative grade point average of 2.0 or higher to remain in good academic standing(seeGrading).

AcademicProbation—Astudentwhosecumulativegradepointaveragefallsbelow2.0willbeplacedonacademicprobationforonesemester.Astudentmustraisehis/hercumulative grade point average to a minimum of 2.0 and maintain it for at least one additional semesterforacademicprobationtobelifted.

AcademicSuspension—Astudentwhosecumulativegradepointaveragefallsbelow2.0whileonacademicprobationwillbesuspended for one year and must reapply for admissionintotheprogramasanewstudent(seeunderAdmissionRequirements).

AcademicDismissal—Astudentwhoissuspendedforthesecondtimewillbedismissed and may not reapply for admission into the program.

Please note: Students must maintain a minimum cumulative grade point average of 2.0 to be eligible for payment plans or scholarships.

HousingTherearenolivingaccommodationsavailablethrough the CJC at this time. The CJC is not responsibleforfindingorassistingastudentinfindinghousing.CJCstudentsareresponsibleformakingarrangementsfortheirownhousing.TheCJCislocatedwithineasywalkingdistanceofanumberofstudent-friendlyapartmentcomplexesindowntownBerkeleyandthenearbyvicinityandisalsoeasilyaccessiblebyBARTforstudentswhowishtoliveoutsideofthecity.AsofMay2013,averagemonthlyapartmentrentinBerkeleyrangedfrom$1740forastudio;$2104foraone-bedroom;and$2652foratwo-bedroomapartment.Visithttp://www.mynewplace.com/city/berkeley-apartments-for-rent-californiaformoreinformationonapartmentrentalsinBerkeley.

International StudentsTheCJCisnotyetSEVISapproved.ItcannotissueI-20’sforF-1visasandthereforecannotacceptinternational students at this time.

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esPOLICIES

Student Enrollment AgreementStudentsmustsigntheCJCStudentEnrollmentAgreementpriortoenrollinginclasseseach semester.Thisdocumentservesasabindingagreementbetweenthestudentandtheschoolformalizingthedetailsofthestudent’sfinancialobligationstotheschoolandtheschool’s obligationstothestudent.

Cancellations, Withdrawals and RefundsCancellation—AstudenthastherighttocanceltheEnrollmentAgreementandobtainarefundof charges paid through attendance at the first class session, or the seventh day after enroll-ment,whicheverislater.Anoticeofcancella-tionshallbeinwritingandsubmittedtotheRegistrar. The notice to cancel the Enrollment AgreementwillbeconsideredeffectivenolaterthanthedateitisreceivedbytheRegistrar.

Withdrawal—Astudentwhowishesto permanentlywithdrawfromtheCJCmustfileaWithdrawalFormwiththeRegistrar.WithdrawalFormsareavailablefromtheRegistrarintheMainOffice.ThenoticetopermanentlywithdrawwillbeconsideredeffectivenolaterthanthedateitisreceivedbytheRegistrar.Permanentwithdrawalmaybeeffectuatedbyastudent’swrittennoticeorbyastudent’sconduct,includ-ing,butnotnecessarilylimitedto,astudent’slackofattendance(seeunderCodeofConductandAttendance).

AllfinancialandacademicpenaltiesapplyasofthedatethenoticetopermanentlywithdrawisreceivedbytheRegistrar(seeunderRefundsbelow,andAdding,DroppingandWithdrawingfromCourses).Exceptionsmaybemadeforfamilyormedicalemergencieswithvaliddocu-mentation.Pleasenote:Studentswhohavepermanentlywithdrawnandsubsequently wishtoreturntotheCJCmustreapplyforadmissionasanewstudent(seeunderAdmissionRequirements).

Refunds—Newstudentswhocancelthe EnrollmentAgreementwithintheaforemen-tionedtimeframemayobtaina100percentrefundofchargespaidlesstheApplicationFee($100),RegistrationFee($50)andEnrollmentDeposit($100).ReturningstudentswhocanceltheEnrollmentAgreementwithintheafore-mentionedtimeframemayobtaina100percentrefund of charges paid less the Registration Fee ($50)andEnrollmentDeposit($200).

Refundsforstudentswhowithdrawduringaperiodofattendancearecalculatedasfollows:Studentswhohavecompleted60percentorless of the period of attendance shall receive a refundcalculatedonaproratabasis.Refundsshallbecalculatedbasedonthetotalamountowedbythestudentfortheportionoftheeducational program completed as of the date of receipt of the notice of cancellation orwithdrawal.

Aproratarefundshallbenolessthanthetotalamountowedbythestudentfortheportionoftheeducationalprogramprovidedsubtractedfromtheamountpaidbythestudent,calculatedasfollows:Theamountowedequalsthedailychargefortheprogram(totalinstitutionalcharge,dividedbythenumberofdaysorhoursintheprogram),multipliedbythenumberofdaysstudentattended,orwasscheduledtoattend,priortowithdrawal.

Please note: A student who has been enrolled for more than nine weeks (60 percent of the term) is not eligible for a refund.

TheCJCshallissueorcreditrefundswithin45 calendar days of a student’s cancellation, withdrawalorcompletionoftheprogram.

Uponastudent’sfailuretopayadebtowedtothe CJC, permission to register for the forth-comingsemestermaybewithheld.TheCJCalsoreservestherighttowithholdastudent’stranscriptuntilthedebtandallcostsassociatedwithcollectingitarepaidinfull.

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es Leaves of AbsenceStudentswhowishtotakeatemporaryleaveofabsencebetweensemestersforprofessional,medicalorpersonalreasonsmustsubmitarequestinwritingtotheDeanofInstruction.LeavesofabsencemaynotexceedtwoconsecutivesemesterswithoutpermissionfromtheDeanofInstruction.LeaveofAbsenceRequestformsmaybeobtainedfromtheRegistrarintheMainOfficeandmustbesubmittedtotheDeanofInstructionpriortothe first day of instruction of the semester for whichtheleaveisrequested.

Please note: Students who wish to take a leave of absence from the CJC during a semester are subject to all academic and financial penalties (see under Cancellations, Withdrawals and Refunds and Adding, Dropping and Withdrawing from Courses) as of the date of the requested leave of absence. Exceptions may be made for family or medical emergencies with valid documentation.

Studentstakingaleaveofabsenceformorethantwosemestersmustreapplyforadmissionasanewstudent(seeunderAdmissionRequirements).

AttendanceStudentsmustattendallclassmeetings,rehearsals and performances on a timely basis,barringillnessorfamilyemergency.Studentsaccumulatingmorethantwounexcusedabsencesormissing15%ormoreofclasstimepercourse,per15-weeksemester,areatriskofbeingdropped fromthecoursebytheinstructorwithapproval from the Dean of Instruction. Please note: In the case of a mandatory drop, academic and financial penalties (see under Cancellations, Withdrawals and Refunds and Adding, Dropping and Withdrawing from Courses) will apply as of the date of the requested mandatory drop, which shall be submitted in writing to the Dean of Instruction for approval.

Grading and Academic PenaltiesGradesarebasedonacombinationofattendance,progress,writtenassignments,examsandperformances.Studentsmustmaintain a grade point average of 2.0 or higher in all classes to remain in good academic standing. The CJC adheres to the followinggradingscale:

A+ 100%–99% =4.0A 98%–93% =4.0A- 92%–90% =3.7B+ 89%–87% =3.3B 86%–83% =3.0B- 82%–80% =2.7C+ 79%–77% =2.3C 76%–73% =2.0C- 72%–70% =1.7D+ 69%–67% =1.3D 66%–63% =1.0D- 62%–60% =0.7F 59%andbelow =0.0

Please note: To advance, a student must receive a lettergradeofnolessthanC.Astudentreceivinga grade of less than ‘C’ or ‘W’ in a required course mustretakeitathis/herownexpenseandreceivea grade of ‘C’ or higher to graduate.

“W” — WithdrewThegradeof“W”isgivenwhenastudentwithdrawsfromacoursewithinweeks5and6.Pleasenote:A‘W’isnotfactoredintothecalculation of a student’s grade point average, butmaybeofconcerntoapotentialemployeror a graduate school.

“WP” — Withdrew PassingThegradeof“WP”isgivenwhenastudent hasbeengrantedapprovalforwithdrawalfromacoursewithinweeks7–8,andatthetimeofwithdrawal,waspassingthecourse.

“WF” — Withdrew FailingThegradeof“WF”isgivenwhenastudent hasbeengrantedapprovalforwithdrawal fromacoursewithinweeks7–8,andatthe timeofwithdrawal,wasfailingthecourse.

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es“I” — IncompleteAstudentwhohassatisfactorilycompletedasubstantialportionofthecourseworkmayrequestatemporarygradeofIncomplete(‘I’)ifhe/sheisunabletocompleteacourseduetocircumstancesbeyondtheircontrol.Requestsmustbemadenolaterthanthelastclassmeeting and are granted at the discretion of theinstructor.Courseworkmustbecompletedpriortocompletionofthenextconsecutivesemester to convert the grade of ‘I’ to a passing gradeof‘A’,‘B’or‘C’.ExceptionsmaybemadewithpriorapprovalfromtheinstructorwithapprovalfromtheDeanofInstruction.Courseworksubmittedafterthedeadlinewithoutpriorapprovalwillautomaticallyresultinapermanentgradeof‘I–F’andwillbeaveragedintostudents’GPAas‘F’.

Adding, Dropping and Withdrawing from CoursesStudentswishingtoadd,droporwithdrawfromacoursemustdosoinwriting.Add/Drop/WithdrawformsareavailablefromtheRegistrarintheMainOffice.Studentsmayadd,droporwithdrawfromacourseasfollows:

Weeks 1 and 2: Studentsmayaddordropcourseswithoutacademicpenalty.Pleasenote:Nonewcoursesmaybeaddedafterweektwo.

Weeks 3 and 4: Studentsmaydropcourseswithoutacademicpenalty.

Weeks 5 and 6: Studentsmaydropcoursesandreceivea“W”ontheirtranscript(seeunderGradingandAcademicPenalties).

Weeks 7 and 8: StudentsmaydropcourseswiththeconsentoftheinstructorandDeanofInstructionandreceivea“WP”(WithdrewPassing)or“WF”(WithdrewFailing)ontheirtranscript(seeunderGradingandAcademicPenalties).

Afterweekeight,studentswillbepermittedtowithdrawfromcourseswithoutacademicpenalty for medical or family emergencies only. StudentsarerequiredtoprovidetheRegistrarwithvaliddocumentationforallmedicalorfamilyemergencies.Studentswithdrawingfromcoursesafterweekeightforanyreasonotherthanamedicalorfamilyemergencywillreceivethe grade of ‘F’ in those courses.

Challenge ExaminationsStudentsmaytakeaChallengeExaminationtodemonstratetheirabilitytomeetthelearningobjectivesofthefollowingcourserequirements:MUS101,MUS102,HAR200A,TEC100andTEC101.SuccessfulcompletionofaChallengeExaminationallowsastudenttothatrequirementwithintheundergraduateprogram.ThefeefortakingaChallengeExaminationis$275percourse.Please contact the Dean of Instruction to schedule aChallengeExamination.

Credit for Prior Experiential Learning StudentsenteringtheCJCmaybringwiththemawealthofprior,non-collegeexperientiallearninginthefieldofjazzperformance.Recognizingthevalueoftheseexperiences,the CJC offers students the opportunity to earn credit in private instruction and/or performance, basedontheirperformanceandrecordingportfolio. Please note: Credit is not granted based on the student’s experiences per se, but rather on the student’s ability gained through their experiences.

Creditforpriorexperientiallearningisgrantedonly to matriculated students. The amount of credit is determined and documented in writingbyCJCfacultywithrelevantcredentials.Instrumentalistsmaybegrantedamaximumof28creditsforpriorexperientiallearning;vocalistsmaybegrantedamaximumof36creditsforpriorexperientiallearning.Please note: Credit granted for prior experiential learning must have approval from the Dean of Instruction and will be recorded on a student’s transcript as ‘credit for prior experiential learning.’

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es Credit Hour Policies

• Definition of Semester-Hour of CreditThesemester-hourofcreditrepresentsonehourof classroom instruction plus a minimum of twohoursofworkoutsideoftheclassroomforaperiodof15weeks.Short-termofferingsarecalculatedonthesamebasis.

• Calculations for the Determination of Credit Hours

Lecture Courses Lecturecoursearedefinedascoursesinapri-marilylecture-styleformat.Inlecturecourses,onehourofcreditisgivenforone60-minuteperiod of recitation.

Lecture/Laboratory CoursesLecture/laboratorycoursesaredefinedascoursesthatcombineslecturewithhands-onapplicationofcoursematerial.Inlecture/labo-ratory courses, one hour of credit is given for one60-minuteperiodofcombinedrecitationand application.

Laboratory CoursesLaboratorycoursesaredefinedascoursesinaprimarilyhands-onformat.Inlaboratorycourses,onehourofcreditisgivenfortwo60-minuteperiodsofapplication.*

*Please note: In instrumental performance ensembles, one hour of credit is given for one 60-minute period of supervised instruction plus one 30-minute period of unsupervised instruc-tion. Instrumental ensembles meet for a total of 3 hours per week. 2 hours are supervised and 1 hour is unsupervised. 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.

In vocal performance classes, one hour of credit is given for one 60-minute period of supervised instruction. Vocal performance classes meet for a total of 3 hours per week. All 3 hours are supervised. Vocalists earn 3 hours of credit for each 15-week semester of classroom work plus a final exam in the form of a public performance.

• Private InstructionPrivate instruction is defined as a course in a one-on-oneformatfocusingontechniqueonan instrument or voice. Private instructors also assiststudentsinpreparationfortheirjuries.Inprivate instruction, one hour of credit is given forone60-minuteperiodofprivateinstructionperweekper15-weeksemester.Studentsmustcompletefifteen1-hourlessonspersemester,withinthegivensemestertoearncredit.Privateinstruction may notextendbeyondtheimmedi-ate15-weeksemester.

• Independent StudyIndependentStudyisdefinedastimespentindependently completing a proposed research projectthatextendsaboveandbeyondtheparametersofthecurriculum.StudentsarerequiredtosubmitaproposalinwritingtotheDeanofInstructionoutlining:theprojectscope;objectives;timeframeforcompletion;andtheirpreferredfacultyadvisor.InIndependentStudy,one hour of credit is given for a minimum of one60-minuteperiodofresearchperweekper15-weeksemester.Studentsarerequiredto present the findings of their research to the publicintheformofapaper,lecture/demon-stration or concert. The designated faculty advisorprovidessupervisionatthebeginning,midpointandconclusionoftheprojectandisrequiredtosubmitanevaluationofthecom-pletedprojectinwriting.

• WorkshopsWorkshopsaredefinedasshort-termcoursesorprogramsinalecture/laboratoryformatusuallywithavisitingartistandoftenconcludingwithapublicperformance.Inworkshops,credithoursforworkshopsarecalculatedonthesamebasisascredithoursforlecture/laboratorycoursesi.e.,onehourofcreditisgivenforone60-minuteperiod of recitation/application.

Transfer CreditStudentswhowishtotransfertotheCJCmustprovide an official satisfactory academic record andhaveearnedanoverallGPAof2.0orhighertobeadmittedtotheCJC.

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esThe CJC grants course credit to transfer students for the English Communication, ArtsandHumanitiesandMathematicsandQuantitativeReasoningGeneralStudiesrequire-ments earned at any fully accredited institution. TheSocialSciencesGeneralStudiesrequire-ment(HIS100A-HIS200BJazzHistory)andPhysicalSciencesGeneralStudiesrequirement(SCI300)arenottransferablefromanyotherinstitution.Theserequirementsmustbe fulfilled at the CJC.

The CJC accepts up to 5 Elective credits relevant to the program’s purposes from any fully accredited institution.

The CJC has not entered into an official articulationortransferagreementwithanyother college or university at this time.

NOTICE CONCERNING TRANSFERABILITY OF CREDITS AND CREDENTIALS EARNED AT OUR INSTITUTION

ThetransferabilityofcreditsyouearnattheCJCis at the complete discretion of an institution to whichyoumayseektotransfer.AcceptanceofthedegreeyouearninJazzStudiesisalsoatthecompletediscretionoftheinstitutiontowhichyoumayseektotransfer.Ifthedegreethatyouearn at this institution is not accepted at the institutiontowhichyouseektotransfer,youmayberequiredtorepeatsomeorallofyourcourseworkatthat institution. For this reason youshouldmakecertainthatyourattendanceatthisinstitutionwillmeetyoureducationalgoals.This may include contacting an institution to whichyoumayseektotransferafterattendingtheCJCtodetermineifyourdegreewilltransfer.

Faculty AdvisorsAfterastudentisadmittedtotheCJC,he or she is assigned a faculty advisor to assist withoverallacademicplanning.FacultyadvisorsareavailabletoassistCJCstudentsMonday–Fridayfrom10am–4pm.Pleasecall510.845.5373 to schedule an appointment.

Student GrievancesStudentswithcomplaintsregardingtheir academic progress must first discuss the issue withtheirinstructor.Iftheissueisnotresolvedto their satisfaction, they may file a grievance withtheDeanofInstructionin writing. If the issue is still not resolved to their satisfaction, theymaycontacttheBureauofPrivatePost SecondaryEducationat:888.370.7589orcom-pleteacomplaintformwhichcanbeobtainedontheBureau’swebsite:www.bppe.ca.gov.

Student Right to PrivacyMatriculatedstudentsareaffordedthefollowingrights regarding access to and privacy of their personal information and educational records:

1.Studentshavetherighttoinspectand reviewtheeducationrecordmaintainedby the CJC through the office of the Registrar.

2.StudentshavetherighttorequestthattheRegistrarcorrectanyrecordstheybelieve tobeinaccurateormisleading.TheDeanofInstruction shall serve as mediator should informationbecontested.IftheDeanofInstruction deems the request to amend a record unfounded, students have the right toplaceawrittenstatementintheirfile,documenting their position.

3.Studentshavetherighttoprivacy regarding any personal information including butnotlimitedtoinformationprovidedon their application, dates of attendance, grading, scholarshipawardsand/orfinancialassistance.TheCJCmusthavewrittenpermissiononfilefrom the student to release any information from a student’s education record.

“ Not all who master their craft

are artists, but all artists are

masters of their craft.”

Mike Zilber CJC Faculty

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Injury PreventionThe CJC places great importance on the preventionofinjuryresultingfromactivitiesinherent in the life of a musician. These include butarenotlimitedtopracticing,performingand/orlistening,asrelatedtobothvocalandmusculoskeletalhealth.Injurypreventionisspecificallyaddressedinthefollowingcourses:AudioforLivePerformance(required);YogaforMusicians(elective);VocalTechniqueforInstrumentalists(elective);andtheAlexanderTechnique(elective).Injurypreventionisalsoaddressed in instrumental and vocal private instruction(required).

THE BACHELOR OF MUSIC DEGREE IN JAZZ STUDIES

Curriculum Requirements

Instrumentalists—TheCJCawardstheBachelorofMusicdegreeinJazzStudiestoinstrumentalstudentswhosatisfactorilycomplete 134 – 136 credits of study divided among:a)coremusiccourses89(pianists)/91(non-pianists);b)electivecourses(15credits)andc)generalstudiescourses(30credits).Instrumentalistsmustpassjuriesannually.(SeeCurriculumRequirementsTemplate—Instrumentalists).

Vocalists—TheCJCawardstheBachelorofMusicdegreeinJazzStudiestovocalstudentswhosatisfactorilycomplete136creditsofstudydividedamong:a)corecourses(91credits);b)electivecourses(15credits)andc)generalstudiescourses(30credits).Vocalistsmustpassjuriesannually.(SeeCurriculumRequirementsTemplate—Vocalists).

Residency RequirementsInstrumentalists are required to complete a minimum of 34 credits in residence during their juniorand/orsenioryearattheCJC.Vocalistsare required to complete a minimum of 34 creditsinresidenceduringtheirjuniorand/orsenior year at the CJC.

Juries and Senior ProjectStudentsmustpassajuryineachoftheirfreshman,sophomore,juniorandsenioryears.Juries serve to evaluate students’ progress in privateinstruction.StudentsmustberegisteredforPRV100A–PRV400Btobeeligibletotaketheirjuryexamination.Studentsadmittedinthefallsemesterperformjuriesinweek16ofthefollowingspringsemester;studentsadmittedinthespringsemesterperformjuriesinweek16ofthefollowingfallsemester.JuryRequirementsareavailableonlineatwww.cjc.edu.HardcopiesarealsoavailableintheCJCMainOffice.

GraduatingseniorsmustcompleteaSeniorProjectcomprisingaperformanceoforiginalcompositions and/or arrangements in a fulllengthconcertopentothepublic.

PerformanceTheJazzStudiesundergraduatedegreeprogram has performance at its center.

Instrumentalistsarerequiredtotakeatotalof20unitsofperformanceensemblesincludingjazz(8),bigband(2),Afro-Caribbean(2),Brazilian(2)andthreeensemblesoftheirchoice(6).Instrumentalistsmayalsouse4Electivecreditstowardperformanceensembles.(SeeInstrumentalandVocalCurricula.)

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Vocalistsarerequiredtotakeatotalof28unitsofperformancecoursesinbothsoloandensembleformats.RepertoirecoversawiderangeofstylesfromtheGreatAmericanSongbooktocontemporaryjazz,worldandpopular music. Vocalists may also use 4 Elective creditstowardperformanceensembles. (SeeInstrumentalandVocalCurricula).

Publicperformanceisanintegralcomponentofstudents’tenureattheCJC.Studentsperformforthepublicaminimumoftwiceperyear. Performances include concerts at the CJC, datesatclubsthroughouttheBayArea,and appearances at specially scheduled events.

Additionally,studentsmayattendoveronehundred concerts scheduled at the CJC through-out the year free of charge. The CJC Concert Seriesfeaturesarangeoflocal,nationalandinternational artists. Visiting artists of note have includedtheHeathBros.,TheoBleckmann,KennyWerner,TaylorEigsti,PeterErskine,QuartetSanFrancisco,PeteEscovedo,PaulaWest,JohnZorn,GeoffreyKeezer,AmbroseAkinmusireandmanyothers!

Core Music Courses: Instrumental TrackInstrumentalistsarerequiredtotake89 (pianists)/91(non-pianists)creditsofthe followingCoreMusicCourses:20creditsof stylisticallyvaryingperformanceensemblesovereightsemestersincluding:jazz(8credits);bigband(2credits);Afro-Caribbean(2credits);Brazilian(2credits);Indian(2credits);andensemblesoftheirchoice(4credits).4additionalcreditsmaybetakenasElectivecourses.AdditionalrequiredCorecoursesinclude:eartrainingandsight-singing(12credits);keyboardproficiency(2credits);jazztheoryandimprovi-sation(12credits);formandanalysisofjazzstandards(4credits);jazzcomposition(3credits);jazzarranging(3credits);themusicofLatinAmerica(2credits);jazzandinterculturalpractice(2credits);WesternEuropeanharmonicpractice(6credits);WesternEuropeanmusichistory(6credits);musictechnology(5credits);businessofmusic(4credits);privateinstruction (8credits);andaseniorproject(2credits).

Core Music Courses: Vocal TrackVocalistsarerequiredtotake91creditsof thefollowingCoreMusicCourses:28creditsofstylisticallyvaryingperformanceensemblesover eight semesters including: Vocal Perfor-mance(24credits);andVocalJazzEnsemble (4credits).4additionalperformancecreditsmaybetakenasElectivecourses.Additionalrequiredcoursesinclude:eartrainingandsight-singing(12credits);keyboardproficiency(2credits);jazztheoryandimprovisation(12credits);jazzcom-position(3credits);jazzarranging(3credits);WesternEuropeanharmonicpractice(6credits);WesternEuropeanmusichistory(6credits);musictechnology(5credits);businessofmusic(4credits);privateinstruction(8credits);andaseniorproject(2credits).

Elective Courses Allstudentsarerequiredtocomplete15 creditsofdegree-relevantElectivecourses. (SeeunderCourseDescriptions).

General Studies CoursesArangeofGeneralStudiescoursesisofferedat the CJC. The CJC also accepts select General Studiesrequirements/electivesfromanyfully accredited institution. Recommended colleges incloseproximitytotheCJCinclude:BerkeleyCityCollegeinBerkeley,justoneblockfromtheCJC;andLaneyCollegeinOakland,justafewBARTstopsaway.TuitionforGeneralStudiescourses at other institutions is additional.

Allstudentsarerequiredtotake30creditsofGeneralStudiescourses.GeneralStudiesrequirements include: English Communication (6credits);SocialSciences(12credits);ArtsandHumanities(6credits);MathematicsandQuantitativeReasoning(3credits);andPhysicalSciences(3credits).(SeeDepartmentofGeneralStudiesbeginningonpage38.)Please note: the Social Sciences and Physical Sciences General Studies requirements are not transferable from another institution. These requirements must be fulfilled at the CJC.

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Independent StudyIndependentStudyaffordsjunior-andsenior-standingstudentsanopportunitytoindepen-dentlyundertakespecialresearch-orientedprojectsextendingaboveandbeyondtheparameters of the curriculum. Studentsmayapplyupto4ElectivecreditstoIndependentStudy.Studentsinterestedinpur-suingIndependentStudyarerequiredtosubmitaproposalinwritingtotheDeanofInstructionoutlining:theprojectscope;objectives;timeframeforcompletion;andtheirpreferredfaculty advisor. Uponapproval,studentsarerequiredtosignacontractwiththeiradvisoragreeingtocompletetheproject.Alettergradeisissuedbaseduponcompletionofprojectedobjectiveswithintheproposed timeframe.

Keyboard Profi ciencyAllstudentsmustdemonstrateabasiclevelofkeyboardproficiencytograduate,eitherbycompletingBeginningPianoforNon-PianistsandJazzPianoforNon-Pianists,orbypassinganequivalentkeyboardproficiencyexam.Keyboardproficiencyexamsaregivenonato-be-arrangedbasisthroughouttheyear.

Workshops and Master ClassesStudentshavetheopportunitytoattendabroadrangeofspecializedshort-termworkshopstaughtbylocalandvisitingartiststhroughouttheyear.PreviousworkshopsbyvisitingfacultyincludeBobbyMcFerrin,GeoffreyKeezer,ChristianMcBride,KurtElling,Jeff“Tain”Watts,NancyKing,RonCarter,DaveWeckl,NnennaFreelon,MattWilson,RudreshMahanthappa,DafnisPrieto, Winard Harper, Taylor Eigsti, Donald Harrison,UriCaine,andothers.Inadditiontoattending master classes, students often have theopportunitytoscheduleprivatelessonswithvisitingartists.Thecostofprivatelessonswithvisitingartistsvariesandisonato-be-arrangedbasisbetweenthestudentandartist.

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teCURRICULUM REQUIREMENTS TEMPLATE — INSTRUMENTAL TRACK

Required Courses Suggested Course Sequence

Year1 Year2 Year3 Year4

Musicianship 6 6

KeyboardProficiency(non-pianists) 2

JazzTheoryandImprovisation 6 6

FormandAnalysisofJazzStandards 4

Western European Harmonic Practice 6

LatinAmericanRootsofJazz 2

JazzandInterculturalPractice 2

WesternEuropeanArtMusicandCulture 6

InstrumentalPerformanceEnsemble 4 4 6 6

JazzComposition 3

JazzArranging-SmallEnsemble 3

BusinessofMusic 2 2

MusicTechnology 2 3

Private Instruction 2 2 2 2

SeniorProject 2

Electives* 2 4 5 4

EnglishCommunication(GSArea1) 6

ArtsandHumanities(GSArea2) 3 3

SocialSciences(GSArea3) 6 6

MathematicsandQuantitativeReasoning(GSArea4) 3

PhysicalSciencesGS(Area5) 3

Yearly Totals 34 34 34 34

Four-Year Total = 136

*4creditsmaybetakenasIndependentStudy;4creditsmaybetakenasPerformance (pianists = 134)

CURRICULUM REQUIREMENTS TEMPLATE — VOCAL TRACK

Required Courses Suggested Course Sequence

Year1 Year2 Year3 Year4

Musicianship 6 6

KeyboardProficiency(non-pianists) 1 1

JazzTheoryandImprovisation 6 6

Western European Harmonic Practice 6

WesternEuropeanArtMusicandCulture 6

Vocal Performance 6 6 6 6

VocalJazzEnsemble 2 2

JazzComposition 3

JazzArranging-SmallEnsemble 3

BusinessofMusic 2 2

MusicTechnology 2 3

Private Instruction 2 2 2 2

SeniorProject 2

Electives* 2 2 4 7

EnglishCommunication(GSArea1) 3 3

ArtsandHumanities(GSArea2) 3 3

SocialSciences(GSArea3) 6 6

MathematicsandQuantitativeReasoning(GSArea4) 3

PhysicalSciencesGS(Area5) 3

Yearly Totals 34 34 34 34

Four-Year Total = 136

*4creditsmaybetakenasIndependentStudy;4creditsmaybetakenasPerformance

COURSE DESCRIPTIONS

Course NumberingThe100-and200-numberedcoursesarelowerdivisioncourses.The300-and400-numberedcourses are upper division courses.

Musicianship

MUS100A Ear Training and Sight-Singing 3 credits, 3 hours lecture/lab Thefirstinafour-semestercoursedesigned to develop aural and visual perception of rhythmic, melodic and harmonic components ofmusic.Coursematerialisjazz-based.

• MUS100B 3 credits AcontinuationofMUS100A.

• MUS200A 3 credits AcontinuationofMUS100B.

• MUS200B 3 credits AcontinuationofMUS200A.

• MUS300A Advanced Musicianship

Elective — 3 credits, 3 hours lecture/labAcontinuationofMUS200B.Designedtofurtherdevelop aural and visual perception of advanced rhythmic, melodic and harmonic material. Includes sight singing, sight reading, rhythm, interval and chord recognition, and transcription. Prerequisites: MUS200B.

• MUS300B 3 credits AcontinuationofMUS300A.

MUS101 Keyboard Proficiency — Piano for Non-Pianists 1 credit, 1 hour lecture/lab Entry-levelkeyboardtechniquefornon-pianistscoveringscales,readingandplayingbasicrepertoire.ServesasprerequisiteforMUS201.

• MUS201 Keyboard Proficiency — Jazz Piano for Non-Pianists 1 credit, 1 hour lecture/lab Anintroductiontojazzpianotechniquead-dressing voicings, voice leading, soloing and comping,asappliedtostandardjazzreper-toire.Usefulforcomposingandarranging. Prerequisites: MUS101 or consent of instructor.

MUS102 Individual Tutorial Elective — 1 credit, 1 hour lecture/labIndividualsupplementalinstructioninawiderangeofareasincludingbutnotlimitedtomusicianship, theory, harmony, composition, arrangingandhistory.Studentsmaytakeupto8electivecreditsofMUS102.Pleasenote:MUS102isnotasubstituteforinstrumentalorVocal Private Instruction.

MUS103A Supplemental Musicianship Skills Elective — 1 credit, 2 hours labAsupplementtoMUS100A,acoursedesignedtostrengthenmusicianshipskills.Suggested prerequisites: Concurrent enrollment in MUS100A; highly recommended for drummers and vocalists.

• MUS103B Elective — 1 credit, 2 hours labAsupplementtoMUS100B,acourse designedtostrengthenmusicianshipskills.Suggested prerequisites: Concurrent enrollment in MUS100B; highly recommended for drummers and vocalists.

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• MUS203A Elective — 1 credit, 2 hours labAsupplementtoMUS200A,acoursedesignedtostrengthenmusicianshipskills.Suggested prerequisites: Concurrent enrollment in MUS200A; highly recommended for drummers and vocalists.

• MUS203B Elective — 1 credit, 2 hours labAsupplementtoMUS200B,acoursedesignedtostrengthenmusicianshipskills.Suggested prerequisites: Concurrent enrollment in MUS200B; highly recommended for drummers and vocalists.

MUS104 Drum Set Technique for Non-Drummers Elective — 2 credits, 2 hour lecture/lab Basicdrumsettechniqueasappliedtojazz andrelatedstylesofmusic.Allinstruments and voice.

MUS110 Vocal Technique for Instrumentalists Elective — 1 credit, 1 hour lecture/lab Anintroductiontovocaltechniqueandsong interpretation. Repertoire includes theGreatAmericanSongbookandstandardandcontemporaryjazz.Coversbasicstagepresence and microphone technique.

Instrumentalists may take up to 2 credits of Vocal Technique for Instrumentalists.

MUS202Sight Reading Workshop Elective — 1 credit, 2 hours labAlabfocusingondevelopingsightreading skillsrelevanttothejazzmusicgenre.Open to instrumentalists and vocalists.

MUS205Chart Reading Workshop for Drummers

3 credits, 3 hours lecture/labAhands-onworkshopfordrummersdesignedto develop proficiency in sight reading and interpreting standard lead sheets and drum chartsforbothlargeandsmallensemble.Studentsworkwithpre-recordedjazz,funk,Latin,pop,rock,fusionandshowarrangements.Coversarticulations,set-ups,fills,tempomodulation,negotiatingstickchangesandutilizingtheclicktrack.Requiredtexts:Progressive Steps to SyncopationbyTedReed;Modern Reading Text in 4/4byLouisBellsonandGilBreinnes.Recommendedtext:Studio and Big Band ReadingbySteveHoughton.

MUS207Double Bass Ensemble Workshop Elective — 2 credits, 2 hours lecture/labAcoursedesignedtodeveloptechnical facilitythroughselectrepertoirefordouble bassensemble.

MUS208Gypsy Jazz Guitar Style and Technique 2 credits, 2 hours lecture/labAnalysisandpracticalapplicationofthestylisticandtechnicalaspectsofgypsyjazzguitarstylefromDjangoReinhardttothepresent.Prerequisites: an acoustic guitar (played with a pick).

MUS209A Practical Applications for the Rhythm Section Elective — 2 credits, 2 hours lecture/labAtwo-semesterhands-on,interactivecourseforpianists,guitarists,bassistsanddrummersfocusing on rhythmic considerations relevant to the rhythm section. Course covers the role of the individual and the rhythm section as a credit as appliedtojazz,Afro-Caribbean,SouthAmericanand World music styles past and present.

• MUS209B 2 credits, 2 hours lecture/labAcontinuationofMUS209A

MUS250 North Indian Music Fundamentals Through Voice Elective — 2 credits, 2 hours lecture/lab Ageneraloverviewofthestyles,formsandpracticesofthetraditionalNorthIndianvocaltradition.Opentobothvocalistsandinstru-mentalists, this course includes participatory singing,familiarizationwiththeIndiansolfègesystem,explorationofthemelodicconcepts of raga, and the rhythmic concepts of tala. Prerequisites: Musicianship 100B.

MUS308 Drum Grooves and Solos in Odd Meters Elective — 2 credits, 2 hours lecture/labAclassfocusingongroovesandsolosoveroddandmixedmetersasappliedtojazzandfunkgenres.StudentsstudyapproachesembodiedbygroupsincludingDaveBrubeck,MahavishnuOrchestra,DaveHolland,Sting,BradMehldauandthePatMethenyGroupamongothers.

MUS309 Fusion Drumming Styles and Techniques Elective — 2 credits, 2 hours lecture/labFusion drumming styles and techniques from thesixtiestothepresent.Studentslearnthe stylisticandtechnicalapproachesutilizedby fusionmastersTonyWilliams,SteveGadd, DaveGaribaldi,BernardPurdie,PeterErskine,BillyCobham,ClydeStubblefield,AlexAcuna,SteveSmithamongotherswhoblendedthepowerofrock,thesyncopationoffunkand thefinesseandtechniqueofjazzintotheir respective personal styles. Techniques include oddmeters,lineardrumming,funkindepen-denceandtheall-importantghostnotes.

MUS190A Yoga for Musicians Elective — 1 credit, 1 hours lab Acourseformusicianstostrengthenmind,bodyandspirit.Warm-ups,stretchesandpos-tureexercisesalleviatetheachesandpainsthatcanresultfromplaying;breathingtechniquesincreaselungcapacityandreducestress;andmeditationeasesperformanceanxietyand promotesgreaterawarenessofthemoment.

• MUS190B Elective — 1 credit, 1 hours lab AcontinuationofMUS190A

MUS191 Alexander Technique Elective — 2 credits, 2 hour lecture / lab Ahands-onintroductiontotheAlexanderTechnique,amethodusedbymusiciansworld-widetopreventandresolveplaying-relatedinjuries,painand/orstagefright.Inappropriatemusculartensionandunconscioushabitsofmisusecaninterferewithtechnicalfacility,soundquality,freedomofexpressionandthejoyofplayingmusic.TheAlexanderTechniqueenablesinstrumentalistsandvocaliststo develop poise and ease of movement in practice and performance.

MUS204 The Application of Eurhythmics to Jazz Repertoire Elective — 2 credits, 2 hour lecture / lab Interpreting distinct rhythmic and melodic aspects of select repertoire through coordinated physical movement and the voice. Instrumentalists and vocalists gain a deeper understanding of the rhythmic and melodic underpinnings of significant jazzandrelatedrepertoiretofacilitateperformance.Note:studentsareadvised towearcomfortableclothingtoclass.

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“ The CJC provides some of the most in-depth study of jazz out there. A core

curriculum of not two, but four semesters of hands-on jazz ear training and

jazz theory and improvisation, culminating in transcription and analysis

of the greatest jazz artists of all time.”

Lisa Feldman CJC Student

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THE250Traditional North Indian Rhythmic Concepts Elective — 3 credits, 3 hours lecture / lab Anin-depthexplorationoftraditionalrhythmicconceptsfromtheNorthIndiansystemofclassical music. Through the medium of vocal percussionsyllablesknownbols,studentsareintroduced to Indian rhythmic idioms such as tala (rhythmiccycles),layakari(rhythmicmodulation),andtihai(thrice-repeatedcadentialphrasesusedtoendamusicalidea).StudentslearntraditionalIndianrhythmiccompositionsdrawnfromtherepertoireofclassicalNorthIndianpercussioninstrumentssuchastablaandpakhawaj.ThisclassdelvesintothehistoryandtheoryofNorthIndianrhythmaswellasitsinfluenceonJazzover the last 50 years. Emphasis is placed on pointingoutthecross-culturalapplicationsofIndian rhythmic concepts to any instrument and any style of music, enriching students’ compositionalandimprovisationalskills.

THE251 Traditional South Indian Rhythmic Concepts Elective — 3 credits, 3 hours lecture / lab Anin-depthexplorationoftraditionalrhythmicco-nceptsfromtheSouthIndiansystemofclassicalmusic. Through the medium of vocal percussion syllablesknownassolkattu, students are intro-duced to Indian rhythmic idioms such as tala (rhythmiccycles),nadai(oddsubdivisionsofthebeat),layakari(rhythmicmodulation),andmora(thrice-repeatedcadentialphrasesusedtoendamusicalidea).StudentslearntraditionalIndianrhythmiccompositionsdrawnfromtherep-ertoire of classical Indian percussion instruments such as tabla, mridangam, kanjira, ghatam, thavil, and morsing. Emphasis is placed on pointing out thecross-culturalapplicationsofIndianrhythmstoany instrument and any style of music, enriching students’compositionalandimprovisationalskills

THE300 Advanced Transcription and Analysis of the Jazz Masters Elective — 3 credits, 3 hours lecture/lab AcontinuationofTHE200BJazzTheoryand Improvisation, focusing on transcription and analysisofmorechallengingworksbyjazz masters.

Theory

THE100A Jazz Theory and Improvisation 3 credits, 3 hours lecture/lab Afour-semestercoursecoveringjazztheoryandimprovisationtechniquesandstylesbasedontheartisticpracticeofjazzmasters,fromtheearlytwentiethcenturyinnovationsofLouisArmstrong,tothecontemporaryartistryofHerbieHancock,andbeyond.Studentsgainasolidunderstandingofjazztheory and improvisation, from the fundamentals tochord/scaletheory,soloing,reharmonization,andtranscription and analysis. Theoretical concepts are illustratedwithselectrecordingsofleadingjazzart-istsandappliedtorelevantexercisesandrepertoireinclass.Thiscourselaysimportantgroundworkcritical in the development of individual style.

• THE100B 3 credits AcontinuationofTHE100A.

• THE200A 3 credits AcontinuationofTHE100B.

• THE200B 3 credits AcontinuationofTHE200A.

THE202Polyrhythms and Odd Rhythm Groupings Elective — 2 credits, 2 hours lecture / lab The nature and history of polyrhythms and odd rhythm groupings and their application to composition andimprovisation.Allinstrumentsandvoice.Prerequisites: MUS100A and THE100A

THE301AForm and Analysis of Jazz Standards 2 credits, 2 hours lecture / lab Acourseinanensembleformatfocusingonformandanalysisofjazzstandardsessential to the professional musician. Prerequisite: concurrent enrollment in THE200B or the equivalent

• THE301B Form and Analysis of Jazz Standards 2 credits, 2 hours lecture / labAcontinuationofTHE301A

THE305 A Chromatic Approach to Jazz Harmony Elective — 3 credits, 3 hours lecture Anintroductiontotheharmonicandmelodic approachesDavidLiebmaninnovatedand expandedinhisseminalbook“AChromatic ApproachtoJazzHarmony”.BeginningwithJohnColtraneandthesecondMilesDavisquintetwhoindependentlybegandevelopinganadvancedjazzlanguageofchromaticisminthe1960s,thiscourseaddressestheworkofDavidLiebman,alongwithMichaelBrecker,ChickCoreaandotherswholaterthatdecademovedittoanewlevelofsophisticatedcontrolofconsonanceand dissonance that remains the gold standard for controlled harmonic tension and release, mostcommonlyknownas‘playinginandoutofthe changes’. During the past forty years, David Liebmanhasbecomewidelyrecognizedastheleadingspokespersonandeducationalforceinexplainingandcodifyingwhatisconsideredthemostadvancedjazzlanguagemethodtoaddressmodern harmony. Prerequisites: THE200B or consent of instructor.

THE306 Discovering the “Hidden” Principles of Music Elective — 2 credits, 2 hours lecture/lab Acourseforallinstrumentalistson“howandwhytoplay”ratherthan“whattoplay”andhowconsciousapplicationofapaletteofmusicaltoolsmaybeusedtoexpressemotion.Exercisesaredesignedtohelpstudentsfindtheirownvoice.

Harmony Thetwo-semesterHarmonysequencecoversthe melodic and harmonic devices specific to the Western European common practice period from1600to1920.Attentionisgiventohar-monicpracticeofthe20thcenturyandbeyondin the second semester.

HAR200A Western European Harmonic Practice from 1600 to 1820 3 credits, 3 hours lecture FocusingoncompositionsfromtheBaroqueandClassicalperiods,thisfirst-semestercoursecoverspreparatory material for the study of harmony, figuredbass,harmonizationofmelodies,voiceleading, cadences, theory of chord progression, chordprogressionsinthediatonicmajorandminor,chord inversions, and an introduction to analysis.

• HAR200B Western European Harmonic Practice from 1820 to the Present 3 credits, 3 hours lecture Focusing on compositional styles of the Romantic and Contemporary Periods, this second-semestercoursecoversformalanalysis, advanced techniques related to sequences,mixture,Neapolitanchords,augmented 6th chords, diatonic and chromatic modulation,andtwelve-tonetechniques.

Composition

COM210 Lyric Writing

Elective — 3 credits, 3 hours lecture/lab Acoursefocusingonthevarioustechniquesused to compose lyrics through analysis of the masters:GreatAmericanSongbooklyricistssuchasLorenzHart,ColePorterandHowardDietz;vocalesewordsmithsJonHendricks, AnnieRoss,KurtEllingandKingPleasure; andpopularsongwriterssuchasJoniMitchellandSting.Studentsbuildarepertoireoforigi-nallyricssettoinstrumentalworksbyjazzmastersaswellastheirowncompositions.

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COM300 Jazz Composition 3 credits, 3 hours lecture/lab Aconcentratedwritingcourseutilizingthecom-positional styles and techniques of the master composers as a point of departure in creating newwork.ComposersstudiedincludeEllington,Parker,Silver,Mingus,Monk,Coltrane,Hancock,Henderson,Shorter,Brecker,Liebman,Grolnick,Pastorius,Townerandmore.Melodic,harmonicand rhythmic techniques employed in the music ofMozart,Beethoven,Brahms,Debussyandotherrelevantpastmastersarealsoexaminedandappliedtostudents’work.

• COM400 Jazz Composition Seminar Elective — 3 credits, 3 hours lecture/lab AcontinuationofCOM300.Aseminaraddressing advanced composition techniques and their practical application in performance.Prerequisites: COM300 or consent of instructor.

COM301A Jazz Arranging — Small Ensemble 3 credits, 3 hours lecture/lab Aone-semesterintroductorycourseonbasicjazzarrangingtechniquesforthesmallensemble.Studentslearnrangesandcharacteristics of instruments, rules for notating rhythm,howtolayoutascore,howtowrite fortherhythmsection,howtocomposemelodiesandchordprogressions,howtosetamelodytochords,howtovoicechorale-stylechords,howtoharmonizeamovingmelodiclinewithtwotofivevoices,andvariousways ofaddressingform.Requiredtexts:Jazz Arranging and Composing — a Linear Approach, byBillDobbins.Studentsareassignedthree tofivearrangingprojects.Thefinalproject is an arrangement for five horns and rhythm section that is recorded.

COM301B Jazz Arranging — Large Ensemble Elective — 3 credits, 3 hours lecture/lab Aone-semesterintroductorycourseonbasicjazzarrangingtechniquesforthelargeensem-ble.Studentsreviewrangesandcharacteristicsofinstruments,rulesfornotatingrhythm,howtolayoutascore,howtovoicechorale-stylechords,andhowtoharmonizeamovingme-lodiclinewithfivevoices.ThroughanalysisofworksbythemastersfromDukeEllingtontoMariaSchneider,studentsalsoexplorediffer-ent techniques for large scale development of form, chord voicings for more than five horns andlargeensembletextureandorchestrationtechniques.Requiredtext:Inside the Score,byRayburnWright.Studentsareassignedthreearrangingprojects.Allassignmentsmustbecompleted on a program such as Finale or Sibelius.Thefinalprojectisanarrangement forfullbigband.Prerequisite: COM301A or consent of instructor.

COM380 Counterpoint Elective — 2 credits, 2 hours lecture/lab Contrapuntal techniques and styles of seven-teenth-andeighteenth-centuryinstrumentaland vocal music, providing a solid foundation forvoiceleading.Includesthewritingofcantusfirmus,two-andthree-partspeciescounter-point,andcombinedspeciesinthreevoices, inmajorandminormodes.Analysisofarange ofimportantcontrapuntalworkincludingthecanons,inventionsandfuguesofJ.S.Bach.

History

Jazz History Afour-semestercourseexaminingthemusicalandculturaldevelopmentofjazz,fromitsante-cedentsinthemusicalculturesofWestAfrica,WesternEuropeandtheNewWorld,tothemusic that is performed internationally today. Throughextensivelistening,readinganddiscus-sion,studentsgainasolidunderstandingofjazz,atwentieth-centuryurbandancemusicthathasbecomegloballycelebratedasaculturalartformembodyingtheidealsoffreedomanddemocracy.

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• HIS100B Jazz History — Style and Culture in America from 1920 – 1939 3 credits, 3 hours lecture Asurveyofearlyjazzstyles,fromtheJazzAgeoftheProhibitionera,throughthereignoftheswingbandsandthejitterbug,tothepre-WorldWarIImodernjazzjamsessionsinHarlem.ThemusicofLouisArmstrong,DukeEllington,CharlieParkerandmanyothersisstudiedwithinthecontextsofthepost-WorldWarIeconomicboom,theGreatDepression,ballroomsandbigbands,theriseofsoundmotionpictures,AmericanmusicaltheaterandtheGreatAmericanSongbook,amongothersocioeconomicand cultural touchstones.

• HIS200A Jazz History — Style and Culture in America from 1940 – 1959 3 credits, 3 hours lecture Thiscourseexploresjazzasanartform,withafocusonthemusicalinnovationsofmodernjazzthroughthebeginningsoffreejazz.Stylesincludingbebop,hardbop,funk,Latinjazz,cooljazz,andotherstylescreatedbyDizzyGillespie,TheloniousMonk,MilesDavis,MaxRoach,theModernJazzQuartet,ArtBlakey’sandHoraceSilver’sJazzMes-sengers, Ornette Coleman and many of their collaboratorsareexamined,focusingoninstrumental grouping, structural, harmonic andrhythmiccreativity,andfolkinfluences.Studentsdrawconnectionsbetweenthemid-centuryimpactofWorldWarII,theAtomicAgeandtheColdWar,thehegemonyoftelevision,advertising,theburgeoningCivilRightsMovementandotherhistoricalepochsupontheevolutionofjazz.

HIS100A–200BfulfillstheCJCSocialSciencesrequirement. Please note: the Social Sciences requirement is not transferable from another institution. This requirement must be fulfi lled at the CJC.

HIS100A Jazz History — The Roots of Jazz and Early Jazz, Pre-1900 – 1919 3 credits, 3 hours lecture ThiscourseexaminestheinfluencesofWestAfrican,Caribbean,SouthAmerican,AsianandEuropean music and culture on the development ofjazzpre-1900,andontheearlymusicofNewOrleansthatbecameknowntotheworldasjazzby1917.ThecoursefocusesontheWestAfricanconceptualapproaches,practices,andcultural conventions that form the foundation of jazz,anditsoriginsinspirituals,blues,ragtimeandotherAfricanAmericansacredandsecularmusic.ThedevelopmentofjazzisstudiedwithinthehistoricalcontextofAmericansocialforcesincludingpost-bellumsegregation,theindustrialboomandtheGreatBlackMigration,World War I, and the invention of the radio and sound recordings.

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• HIS200B Jazz History — Style and Culture in America from 1960 – Present 3 credits, 3 hours lecture This course surveys the range of idioms and subgenresofpost-Coltranejazz,particularlytheevolutionoffreejazzwiththeAACM,the1970sNewYorkLoftScene,jazzinEurope,themusicandideasofWyntonMarsalisjuxtaposedwiththeelectronicfusionmusicofMilesDavisandhiscol-laborators,HerbieHancock,WeatherReport,ChickCorea,etal,andthereturnofjazztoitsdanceorigins.Thesteadyinfluxofglobalinfluencesfrom traditional and contemporary musicians fromAfrica,Asia,andtheNewWorldcontinuesto infuse a diverse range of compositional styles, formsandinstrumentsintothejazzworld.

HIS301New Orleans: The Birthplace of Jazz Elective — 2 credits, 2 hours lecture AcoursetracingthemusicalinfluenceoftheinternationalportofNewOrleans,themeltingpotformusicinnovationandculturalexchangethatisthewellspringoftheAmericanartform,jazz.ExplorestheAfricanAmericanexperienceof cultural resilience through dance, singing and drumming traditions that fused elements from variouscultureswithgospel,bluesandtheLatintinge. Includes analysis of important recordings aswellasin-classperformanceoftraditionalandmodernNewOrleans-stylefuneralmarches,streetparades,brassbandsandothermusicemploying improvisation, syncopation, call and response and friendly competition that continue toinfluencemusicthroughouttheworld.

HIS302The Miles Davis Legacy Elective — 3 credits, 3 hours lecture Arguablyoneofthemostimportantandinfluentialfiguresinmodernjazz,trumpetplayer,bandleaderandinnovatorMilesDavisshapedvirtuallyeveryfacetofAmerica’smostimportant art form throughout a recording and performingcareerthatspannedsixdecades.BeginningwithCharlieParker’sgroupin1945untilhisdeathin1991,Milesdirectlyinfluencedeveryimportantjazzmovementandmusician.Throughrecordingsandthoseofhistoweringsidemen, this course traces the development of modernjazzfrombeboptocool,tohardboptomodal,toorchestraljazzto“timenochanges”,to fusion

HIS305 History of American Roots Music from 1900 – Present Elective — 2 credits, 2 hours lectureAsurveycourseonthehistoryandculturalsignificanceofAmericanacousticmusicstyles,fromtraditionalcountry,bluesandbluegrass,tosinger-songwriter,andnewgrass(progressivebluegrass),amongothercontemporaryacousticsounds.

HIS308 The Language of Hard Bop 3 hours, 3 credits listening / lab Drawingonquintessentialrecordingsofthe50sand60shardbopera,studentslistento,exploreanddiscussselectedworksofhardbopmasters,focusinginparticularonthecollaborativespiritinherentinjazz.RecordingsincludeiconicBlueNoteRecordsartistssuchasArtBlakey’sJazzMessengers‘familytree’,MilesDavis’smallgroupsandmore.Studentsapplyconceptscharacteristicofthehardbopstyletoin-classperformanceofjazzrepertoire. Prerequisites: MUS200B and THE200B or permission of instructor.

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HIS309 Jazz Oral History Methodology Elective — 3 credits, 3 hours lectureAnintroductiontojazzoralhistorymethodol-ogy.Studentslearnresearchtechniquesinliteraturereviewfocusingonbiographiesandautobiographies;oralhistorymethodologiesincluding research, preparation, transcrip-tionandanalysisofinterviews;andinterview,audiovisual and archival techniques and their application.InpartnershipwiththeSmithsonianInstitution,studentsworkwithandcontributetothecollectionoftheSmithsonianJazzOralHistoryProgramattheNationalMuseumofAmericanHistory.Prerequisite: HIS100A or consent of instructor

HIS310 The Jazz Singers Elective — 2 credits, 2 hours lecture Ahistoryclassfocusingonthelegendaryjazzsingers from the perspective of the first instru-ment,thevoice.Studentslistentoandlearnaboutagamutofjazzsingersandtheirgreatestcontributions,beginningwiththeprecursorsofjazzfromworksongs,fieldhollers,spirituals,ragandblues,tothe“holytrinity”—BillieHoliday,SarahVaughanandEllaFitzgerald—ontojazztodayanditsfuture.Studentslearntoidentifystylisticnuancesuniquetoeachartistaswellasbecomefamiliarwiththeimportantinstru-mentalistssupportingthem.Lecturesincludeanoverviewofthesocialclimateofeachperiod,fosteringagreaterunderstandingofhowthismusicwascreatedandhasevolved.Filmshortsofsomeoftherenownedartistsareshownthroughoutthecourse.Studentsareaskedtoattendandwritereviewsoftwolivejazzconcerts.

HIS330 Latin American Roots of Jazz 2 credits (mayalsobetakenasanElective), 2 hours lectureAsurveyoftheevolutionandrelevanceoftheAfro-Latinorootsofjazz.Thiscourseexaminesthepan-AmericansociopoliticalcircumstancesthatbroughtAfro-Latinomusicandjazzto-getherasbranchesofthesametree.Emphasisis placed on the historical development of the especiallyinfluentialmusicofCuba,NewYorkandPuertoRico.Studentslistentorarerecord-ingsfrom1900tothepresent.Musicisanalyzedthrough lecture, listening and discussion and broadensanunderstandingofjazzfrombothstylistic and historical perspectives.

HIS331 Music of Latin America Elective — 2 credits, 2 hours lecture AsurveycoursecoveringawidevarietyofLatinAmericantraditionalandcontemporarymusic styles and their Indigenous, European andAfricanculturalinfluences,includingstylesofSalsaandLatinjazzthatdevelopedwhollyorpartlyintheUnitedStates.Thiscoursefocusesonthemusicologicalaspectsaswellasthehis-torical and social impact of each style.

HIS320A String Players in Jazz Elective — 2 credits, 2 hours lecture Anin-depthstudyofjazzstringplayingintheUnitedStates,EuropeandScandinavia,focusingonthekeyplayerswhohaveledthecharge.Thiscourseexaminesthestylisticdevelopmentofthemusicfromclassicalandfolkrootstoemerg-ingformsofpopularmusicandjazzoverthelastcentury.Stringplayers(bothacousticandelec-tric)havealwaysplayedanimportantpartinthedevelopmentofjazz,butveryfewhaveenteredthemainstreamsuccessfully.Studentsgainanhistorical perspective on these artists’ lives and as-sesstheimpacttheyhavehadonthejazzartform,listeningtotheearliestrecordingsofbothsoloistsandensemblesandmovingontocoverthepro-ponentsandinnovatorsofmodernjazzidioms.

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Private Instruction

PRV100A, 100B; 200A, 200B; 300A, 300B; 400A, 400BInstrumental Private Instruction 1 credit, 1 hour lectureEight semesters of private instruction for in-strumentalists,onehourperweekwithselectfaculty.Instrumentalstudentsmusttakeonesemester of private instruction focusing on Western European classical repertoire. PRV110A, 110B; 210A, 210B; 310A, 310B; 410A, 410B Vocal Private Instruction 1 credit, 1 hour lecture Eight semesters of private instruction for vocalists,onehourperweekwithselectfaculty.

Instrumental Performance Ensemble

PRF100; 200; 300; 400Jazz Repertoire Ensemble 2 credits, 3 hours lab AperformanceensemblefocusingonawiderangeofrepertoirefromtheGreatAmericanSongbooktobebop,post-bebopand‘worldmusic’genres.

PRF101 The Music of Horace Silver 2 credits, 3 hours lab Anensemblefocusingontherepertoire ofHoraceSilver.

PRF120; 220; 320; 420Jazz Strings Chamber Ensemble 2 credits, 3 hours labAperformanceensembleforviolinists, violists,cellistsanddoublebassists. Repertoireincludesmaterialwrittenandarrangedbytopcomposersinthejazz stringworldincludingTurtleIslandQuartet,DarolAnder,Jean-LucPonty,EdgarMeyer andEvanPriceamongothers.Includesjazz,Latin,fiddle,WesternEuropeanclassical, popandrockgenres.

• HIS320B 2 credits AcontinuationofHIS320A.

HIS360 Jazz and Intercultural Practice 2 credits, 2 hours lecture Thiscoursereviewsselectedmusicaltraditionsoftheworldandtheircross-culturalandinter-culturaljazzapplication.

HIS370 The Beatles Elective — 3 credits, 3 hours lectureAnexaminationofthelifeandworkoftheincomparableEnglishrockandpopgroup TheBeatles,framingthegroup’scareerin thecontextofthevibrantsocial,cultural, andpoliticalclimateofthe1960s.Attention isgiventothegroup’simpeccablesong writing,theirrapidrisetofame,andtheir creativeuseofnewly-availabletechnology in the recording studio.

HIS480A Western European Art Music and Culture from Antiquity to 1750 3 credits, 3 hours lecture This course traces the development of WesternEuropean art music from the 10th century through the middle 18th century, focusing on the musical styles of the master compos-ersoftheMedieval,RenaissanceandBaroqueperiods.Emphasisonthesocio-economicandpolitical conditions that gave rise to them.

• HIS480B Western European Art Music and Culture from 1750 to the Present

3 credits, 3 hours lecture This course traces the development of Western European art music from the middle 18th centurythroughthetwentiethcenturyandbeyondfocusingonthemusicalstylesofthemaster composers of the Classical, Romantic andTwentiethCenturyperiodsandbeyond.Emphasisonthesocio-economicandpoliticalconditions of each period.

PRF201 The Music of Miles Davis and Wayne Shorter 2 credits, 3 hours labAnensemblefocusingontherepertoire ofMilesDavisandWayneShorter.

PRF202 Post-Bop Ensemble 2 credits, 3 hours labAnensemblefocusingonmusicofthepostbopstyleincludingJohnColtrane,MilesDavis,BillEvans,CharlesMingus,WayneShorterandHerbieHancockamongothers.

PRF203 Jazz Fusion Ensemble 2 credits, 3 hours labAnensemblefocusingonplayingandanalyzing themusicofChickCorea,JohnMcLaughlin, JacoPastorius,Jean-LucPontyandothersin thejazzfusionvein.

PRF204 Gypsy Jazz Ensemble 2 credits, 3 hours labAnensembleinthestyleofDjangoReinhardt’sandStephaneGrappelli’sQuintetoftheHotClubofFrance.Beginningwiththeirfirstrecord-ingsin1934,thesetwoinnovatorsforgedanewgenre—gypsyjazzorjazz Manouche—acousticmusiccombiningpumping,infectiousrhythmwithvirtuosity,inventiveness,andsoul.Studentslearnthesubtletiesoftherhythmgui-tartechniqueknownasla pompe, the special roleofthebassinadrum-lessrhythmsection, aswellasthedistinctiveimprovisationaldialectintrinsic to the style. Instrumentation: voice, violin, viola cello, accordion, solo guitar, rhythm guitarandbass.

PRF205 Music of Wes Montgomery 2 credits, 3 hours lab Aninstrumentalensemblefocusingonoriginalcompositions and arrangements of standards aswritten/performedbylegendaryguitaristWesMontgomery.Repertoireincludesclassicssuchas“FouronSix”,“WestCoastBlues”,“RoadSong”and“‘RoundMidnight”.Anin-depthanalysisoftranscribedsolosfromselectedpersonnelonMontgomery’sseminal1962 Riverside recording Full House spurs a deep understanding of the music and provides aspringboardforrhythmic,melodicandharmonicexplorationanddevelopment.Opentoguitarists,pianists,bassists,drummers,andsaxophonists.

PRF230 Latin Jazz Ensemble 2 credits, 3 hours lab Anensemblebasedontheamalgamof styles and techniques that form and inform themultifacetedfieldofLatinjazz.

PRF231 Afro-Venezuelan Jazz Ensemble 2 credits, 3 hours lab Anensemblebasedonthestylesandtechniques that form and informVenezuelanjazz.

PRF240 Brazilian Jazz Ensemble 2 credits, 3 hours labAnensemblefocusingontheamalgamofBrazil-ianandAmericanjazzstylesofmusicandtech-niques. Open to instrumentalists and vocalists.

PRF250 Traditional North Indian Ensemble 2 credits, 3 hours lab Aninstrumentalensemblefocusingontherhythmic, melodic and harmonic underpinnings oftraditionalNorthIndianmusic.

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PRF262 Cross-Cultural Jazz Ensemble

2 credits, 3 hours lab Anensemblecombiningjazzwithtraditionalstylesofmusicfromnon-westernEuropeancultures.

PRF270 East Bay Funk Ensemble

2 credits, 3 hours lab AperformanceensemblefocusingontheEastBayfunkcanon—thedistinctive,rhythm-drivengenreofmusicthatemergedoutofSanFran-ciscoBayArea-basedbandsfromthelate60stothepresent.Beginningwithitssource,themusicofthe“godfatherofsoul,”JamesBrownandhismusic director, Pee Wee Ellis, students study and performrepertoirebynotedSanFranciscoBayAreabandsincludingSlyandtheFamilyStone,ColdBlood,TowerofPower,TheHeadhunters,RayObiedoandTheV.W.Brothers,amongothers.TherevolutionaryandlegendarycontributionsofbassistLarryGrahamarealsocovered.

PRF271Bluegrass Ensemble

2 credits, 3 hours lab Anensemblefocusingontraditionalandcontemporarybluegrasstechniquewithanemphasisonrhythmicdrive,ensembleinteraction,banddynamicsandcreativearrangements. Class is designed for acoustic guitar,mandolin,fiddle,banjo,acousticorelectricbass,dobroandvocals.Listeningassignmentsandaone-hourend-of-semesterperformance are required.

PRF272The Music of Sting

2 credits, 2 hours lab AnensemblefocusingontherepertoireofSting—from‘ThePolice’(1978)tothe present.

PRF301Odd Meter Ensemble

Elective — 2 credits, 3 hours labAnensembleexploringoddmetercompositionsbyJohnMcLaughlin,GeorgeDuke,MiltonNascimento,NguyenLe,AirtoMoreira,EsbjornSvensson,JeffBeckandothers.Coursealsoincludestheapplicationofoddmeterstojazzstandards.Studentsareencouragedtocomposeandarrangeoriginalandexistingworkfortheensemble.

PRF303The Music of Charles Mingus 2 credits, 3 hours labAnensemblefocusingontherepertoireofCharlesMingus.

PRF304 The Music of Art Blakey

2 credits, 3 hours lab AperformanceensemblefocusingontherepertoireofArtBlakey.

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PRF305JI Jazz Orchestra 2 credits, 3 hours labAlargeperformanceensemblefocusingonthestudyandperformanceofstandardandcontem-porarybigbandliterature.Limitedtostandardbigbandinstrumentationwithoneplayertoapart.

PRF308 Improvised Music Ensemble

2 credits, 3 hours lab Anensembleexploringtherealmof‘free’im-provisation.Studentsareintroducedtovarioustechniquestheymayusetocollectivelycom-pose in the moment. Focusing on listening and communication, students gain a deeper insight intotheirownartisticvoiceanddiscoverawiderspectrumofmusicaltexturesandcompositionalapproaches. Considerations include listening andcommunicating,style,form,motif,texture,meter and pulse, among others.

PRF309 Percussion Ensemble 2 credits, 3 hours lab Aperformanceensemblefocusingonselectpercussion répertoire, transcriptions, students’ originalworkandimprovisation.Prerequisites: Intermediate hand drum and stick technique and coordination, and the ability to read rhythmic notation.

PRF335 Afro-Latin Percussion Ensemble

2 credits, 3 hours lab The history and performance of traditional, popularandcontemporaryLatinAmericanrepertoire. Covers techniques, roles and concepts ofinstrumentsincludingtumbadoras(congadrums),bongos,timbales,tambora,cajón,pandereta,claves,cowbell,maracas,güiro,quijada,güícharo,chékere,andgüira.RhythmsandstylesaddressedincludeBembé,Iyesá,Palo,Makuta,Abakuá,Arará,Yambú,Columbia,Guaguancó,CongadeComparsaHabanera,CongadeComparsaSantiaguera,Bomba,Plena,Merengue,Samba,Landó,Son,Danzón,Mambo,Salsa,Timba,andCumbia.Prerequisites: Intermediate hand drum and stick technique and coordination, and the ability to read rhythmic notation.

PRF341Tangos, Choros and Frevos

2 credits, 3 hours labAnensemblefocusingonrepertoireofAstorPiazzola,EgbertoGismonti,JoseMariadeAbreu,ToninhoHorta,EduLobo,SteveErquiagaandothersignificantLatinAmericancomposers.Diverseinstrumentationwelcome.

PRF380Saxophone Quartet

2 credits, 3 hours lab ThetraditionalSATBconfigurationforsoprano,alto,tenorandbaritonesaxophones.RepertoirecoversstylesfromBaroquetobebopandbeyondand addresses technical aspects relevant and uniquetoawoodwindquartet.

PRF409 Advanced Jazz Workshop 2 credits, 3 hours lab Aperformanceensemblefortheadvancedstu-dentfocusingonimportantcoreinnovationsbypost-bopluminariesincludingWayneShorter,JoeHenderson,HerbieHancock,ChickCorea,DaveLiebman,MichaelBreckeramongothers.Studentsareencouragedtobringinoriginalwork.Prerequisites: rhythmic, melodic and harmonic fl uency with the bop and post-bop language; familiarity with repertoire from the Great American Songbook.

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Vocal Performance

PRF110A, 110BVocal Performance 3 credits, 3 hours labAneight-semestercoursecoveringarangeofstylesfromtheGreatAmericanSongbooktobebop,modal,world,contemporarypopular,andfreemusic.Studentscomposeoriginalmaterial,writelyricsandcreatetheirownar-rangements.Accompaniedbyapianistand/orrhythm section, singers focus on interpretation, stage presence, improvisation, vocal technique, phrasingaswellascultivatingapersonalstyle.Studentsareexpectedtodeveloparepertoireof100songsoverthisfour-yearcourse.

• PRF210A, 210B 3 credits AcontinuationofPRF110B

• PRF310A, 310B3 credits AcontinuationofPRF210B

• PRF410A, 410B 3 credits AcontinuationofPRF310B

PRF111A Vocal Jazz Ensemble Requirement / Elective — 2 credits, 2 hours lab Repertoire includes historic arrangements from groupsincludingLambert,Hendricks&RossandtheSingersUnlimitedaswellasoriginalchartsand arrangements. Emphasis on singing close harmony parts, sight reading, intonation and creatingastylisticallyrelevantensemblesound.

• PRF111B Requirement / Elective — 2 credits AcontinuationofENS111A

Music Technology

TEC100Introduction to Music Technology 2 credits, 2 hours lecture/lab Anintroductiontosoftwaretoolsavailablefor sequencing, sampling, scoring/music notation, simple recording and production. Thiscoursealsocoverssoftwareandweb-basedservicesthatassistwithdevelopingskillsinbasicmusicianship.IntroductiontoMusicTechnologyservesasaprerequisiteforBasicRecordingTechniques.Thesoftwarereviewedinthiscourseincludespackagesthataremulti-platform(WindowsandMac)andweb-basedshareware.

TEC101 Digital Recording, Editing and Mixing Techniques 3 credits, 3 hours lecture/lab Aone-semestercoursefocusingonrecording,editingandmixingtechniquesusingAvidProToolssoftware.Topicsincluderecordingaudio,audioediting,usingMIDI,mixing,andusingaudioeffects.Studentscompleteseveralprojectsoverthecourseofa15-weeksemester.

Business of Music

BUS300 Audio for Live Performance and Recording 1 credit, 1 hour lecture Anintroductoryoverviewofliveperformanceaudiosystemsandbasicrecordingtechnologyprovidinganexplanationofthesignalpathfromthe source through the microphone to its even-tualdestinationofliveshow,loudspeakerorrecordingmedia.Strategiesforsuccessfulliveperformanceandinteractionwithliverecordingengineers are presented.

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“ In addition to being a legend in his field, John Santos is a dynamic educator

with an encyclopedic knowledge of Afro-Caribbean music and a generous

spirit; he empowers and inspires his students. What a privilege it is

to study with artists of his caliber at the CJC.”

Andrea Claburn CJC Student

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BUS301 Legal Aspects of the Music Industry for Jazz Musicians 1 credit, 1 hour lecture Anoverviewofthevariouslegalissuesinthemusicindustryandthemannerinwhichthelawand technology have shaped the evolution of theindustry.Coverscurrentlegalissuesfacedbyjazzmusiciansandjazzlabelsandthebusinesspracticesthatarebeingdevelopedtoaddressthem. Provides an understanding of the prin-ciplesofcontractandcopyrightlawandcoverstopicsrelevanttojazzmusicianstoday,includingthe role of agents and managers, live perfor-mance agreements, recording contracts, music publishing,produceragreements,licensingmusic for motion pictures, television and com-mercials, understanding royalty statements and thedistributionandsaleofmusicontheInternet.

BUS400The Working Musician 1 credit, 1 hour lecture Aone-semestercoursefocusingonmarketingandpublicitypracticescriticaltothesuccessofthe professional musician.

BUS401Pedagogy Techniques 1 credit, 1 hour lecture Acoursefocusingonpedagogytechniquesandissuesrelatedtopedagogy.Guidedbyinstruc-toronanindividualbasis,studentsdesignandpresentalive,short-termworkshop(2hours)onatopicoftheirchoicetothepublicaspartoftheJazzschoolCommunityMusicSchoolWorkshopSeries.Studentsgainhands-onteachingskills,expandingtheiremploymentoptionsaspro-fessional musicians. Prerequisites: senior-year standing or consent of instructor.

Please note: Workshop proposals must besubmitted to and approved by instructor sixmonths prior to presentation and a minimumof six months prior to planned graduation.

Recording Studio

REC101 Recording Studio Internship Program Elective — 2 credits; 2–3 days/week labInconjunctionwithFantasyStudiosatZaentzMediaCenter,acourseprovidingsupervisedpracticaltrainingintheinnerworkingsofa professional,multi-roomrecordingfacility.Internship training includes:• Basicrecordingtechniquesandmicrophone

placement• Basicrecordingsessiondesignandsetup•Signalflowtheoryandpatching•Basicmixingconsoletheoryandapplication•Recordingsessionetiquette• Propermicrophoneandequipmenthandling

and storage• Basicstudioadministrativetasks•Clientconciergeservices•Hospitalitymaintenanceandcleanliness

Prerequisites: Resume and consent of Internship Program Coordinator. Please note: This course is held offsite at FantasyStudiosatZaentzMediaCenter, 2600TenthStreet,Berkeley,California.

Senior Project

SEN400A Senior Project 1 creditSeniorsprepareandperformafull-lengthconcert of original material/arrangements at the CJC,Yoshi’sorotherconcertvenue.Theconcertisprofessionallyrecorded.Studentsfocusoncomposing and arranging repertoire, recording andmixingthematerial,packaginganddistrib-utingtheproduct,marketingandpublicizingtheconcert,rehearsingthebandandgaininganunderstanding of all of the legal issues related toproduction,publishingandcopyrightlaws.Studentscompletethisprojectinconjunctionwithafacultyadvisor.

• SEN400B 1 credit AcontinuationofSEN400A

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DEPARTMENT OF GENERAL STUDIES

TheGeneralStudiescurriculumisintegralto theoveralldevelopmentoftheaspiringjazz professional.CoursesinGeneralStudiespromotebroad-basedculturalliteracy,criticalthinkingandcommunicationskillsnecessarytofunctionsuccessfullyinthemusicworldandbeyond.CoursesinGeneralStudiesservetobroadenperspectivesandprovidepointsof referenceinvaluabletothejazzprofessional inaglobalsociety.

TheGeneralStudiesrequirementcomprises30creditsandisdividedintothefollowingfiveareas:

Area 1. English Communication (Requirement:6credits)

Area 2. Arts and Humanities (Requirement:6credits)

Area 3. Social Sciences (Requirement:12credits)

Area 4. Mathematics and Quantitative Reasoning (Requirement:3credits)

Area 5. Physical Sciences (Requirement:3credits)

ArangeofGeneralStudiescoursesisofferedattheCaliforniaJazzConservatory.TheCJCalsoacceptsselectGeneralStudiesrequirements/electives from any fully accredited institution. TransfercreditfulfillingCJCGeneralStudiesrequirements in English Communication (6credits),ArtsandHumanities(6credits) andMathematicsandQuantitativeReasoning (3credits)isevaluatedandacceptedonacase-by-casebasis.Please note: the Social Sciences (12 credits) and Physical Sciences (3 credits) requirements are not trans ferable from another institution. These require ments must be fulfilled at the CJC.

Area 1. English Communication (Requirement:6credits)

Studentsarerequiredtotakeatotalof6creditsin English Communication: 3 credits of English Compositionand3creditsofEnglishLiterature.ThefollowingcoursesfulfilltheCJCEnglishCommunicationGeneralStudiesrequirementsand are offered at the CJC:

ENGLISH COMPOSITION

ENG100The EssayEnglish Composition Requirement / Elective 3 credits, 3 hours lectureFocusingonwritingstyle,sentencestructureandgrammarcourseineffectiveexpositorywritingandcriticalthinkingthatcoversstructureandfunctionoftheessay(non-fictionprose)asaliteraryform.Studentsreadexemplaryessaysaboutmusic,theentertainmentindustry,visualartandculture,andwriteanalyticalarguments,musicreviews,manifestoesandrevisionstogainthetoolstheyneedtoexpresstheirpersonalperspectives,experiencesandideas.Please note: this course is offered at the CJC.

ENG102 The Biography and AutobiographyEnglish Composition Requirement / Elective 3 credits, 3 hours lectureAwritingintensivethatcoversstructureandfunctionofthebiographyandautobiography as literary forms. Considerations include strategy, research and documentation along withanexaminationofthestructureand conventionsofwriting“alife.”Usingkeybiographiesandautobiographiesofjazz musiciansasmodels,studentswritea biographyofajazzmusicianoftheirchoosing ortheirautobiography.Please note: this course is offered at the CJC.

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ENGLISH LITERATURE

ENG105 Poetry of Jazz; Jazz of Poetry English Literature Requirement / Elective 3 credits, 3 hours lectureBeginningwiththelyricsofworksongs,gospelandblues,andcontinuingthroughtheHarlemRenaissance,pre-andpost-WorldWarII,bebopandtheBeats,modernandpostmodern,andthe“NOW”,jazzpoetryhasrhythmicandlyricalstylesnurturedbythemusicanditsplayers.ThisextensiverangeofpoeticandjazzaestheticsisstudiedthroughthevoicesofBessieSmith,WillieDixon,LangstonHughes,JackKerouac,MichaelMcClure,AlYoung,MichaelS.Harper,JayneCortez,IshmaelReed,BillyCollins,QuincyTroupe,etal.Indepthreadingsandanalysis,aswellashistoricalandmusicalcontextareemphasizedandexplored.Please note: this course is offered at the CJC.

ENG110 Introduction to Shakespeare: From Plays to WorksEnglish Literature Requirement / Elective 3 credits, 3 hours lectureAcourseexaminingthreeselectedShakespeareplays and poetry such as Twelfth Night, Othello, theSonnets,andAntony and Cleopatrawithanemphasisonhistoricalcontext—fromtheRenaissance to the present. The shift from Shakespeare’stheatreasrawcommercialentertainment to its status today as preeminent dramaisanalogoustotheevolutionofjazzasearlytwentiethcenturyentertainmentfoundinbrothels,barsanddancehalls,toitsstatustodayasaseriousartform.Workinginseminarformat,studentsconsiderproblemsofpoetry,character and performance and attend a live performance of one of the plays, schedule permitting. Please note: this course is offered at the CJC.

ThefollowingcoursesfulfilltheCJCEnglishCompositionGeneralStudiesrequirementandhavebeenapprovedfortransferfromBerkeleyCity College. Please note: Additional courses of interest may be approved on a case-by-case basis. For Berkeley City College course descriptions and class schedules, please visit http://www.berkeleycitycollege.edu/wp/programs/class-schedules-and-catalogs/.

ENGL1A,1BCompositionandReading (4credits)

ENGL5CriticalThinkinginReadingandWriting(3credits)

ENGL100CollegeCompositionandReading (3credits)

ThefollowingcoursesfulfilltheCJCEnglishLiteratureGeneralStudiesrequirementandhavebeenapprovedfortransferfromBerkeleyCity College. Please note: Additional courses of interest may be approved on a case-by-case basis. For Berkeley City College course descrip-tions and class schedules, please visit http://www.berkeleycitycollege.edu/wp/programs/class-schedules-and-catalogs/.

ENGL50MulticulturalAmericanLiterature (3credits)

ENGL85ALiteratureinEnglishthroughMilton(4credits)

ENGL85BLiteratureinEnglish:Late17ththroughMid19thCentury(4credits)

HISTORY47CriticalThinkinginHistory (3credits)

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Area 2. Arts and Humanities (Requirement:6credits)

Studentsarerequiredtotake6creditsintheareaofArtsandHumanities.ThefollowingcoursesfulfilltheCJCArtsandHumanitiesGeneralStudiesrequirementsandareofferedat the CJC:

HUM200 Introduction to Linguistics Requirement/Elective 3 credits, 3 hours lectureAgeneralsurveyofthefieldoflinguisticsandintroduction to core areas such as phonetics andphonology,morphology,syntaxandsemantics,historicalchange,creolizationandcontact phenomena, language acquisition, pragmaticsandsociology,withawiderangeofdatafromdiverselanguages.Studentslearnthebasicprinciplesoflinguisticanalysisandanalyticalreasoning,andtheskillsneededtodrawgeneralizationsandfindpatternstounderstandandexplainhowlanguageswork.

HUM305Philosophy of JazzRequirement/Elective 3 credits, 3 hours lectureWhatisthemeaningofjazz?Whatisthepurposeofart?Howdoyouformyourartisticmessagewithinthejazzidiom?AndyHamilton’s“AestheticsandMusic”servesasaguideinaddressingtheseprofoundquestionswhilereviewingthehistoryofmusicaestheticsfromPlatotoAdorno.Topicscoveredinclude a history of the concept of music and improvisation,andtherelationshipofjazzto modernism and postmodern philosophy. Studentsquestiontheirownexpectationsregardingjazz,includingtherelationshipbetweenartandcommerceandpersonalmotivationsbehindtheirartisticpursuits.

ThefollowingsuggestedcoursesfulfilltheCJCArtsandHumanitiesGeneralStudiesrequirements/electivesandhavebeenapprovedfortransferfromBerkeleyCityCollege. Please note: Additional courses of interest may be approved on a case-by-case basis. For Berkeley City College course descriptions and class schedules, please visit http://www.berkeleycitycollege.edu/wp/programs/class-schedules-and-catalogs/.

ART1IntroductiontoArtHistory(3credits)

ART4HistoryofModernArt(3credits)

AFRAM44BAfrican-AmericanCultureToday:African-AmericanMusic/Art/Thought (3credits)

COMM5PersuasionandCriticalThinking (3credits)

FREN1A,1BElementaryFrench(5credits)

HIST33HistoryofNativeAmericanThoughtandLiterature(3credits)

HUMAN21Film:ArtandCommunication (3credits)

HUMAN26GlobalCinema(4credits)

HUMAN30A,30BHumanValues/Ethics (4credits)

HUMAN40ReligionsoftheWorld(3credits)

HUMAN46PhilosophyoftheHumanExperience(3credits)

PHIL1IntroductiontoPhilosophy(3credits)

PHIL10Logic(3credits)

PHIL46PhilosophyoftheHumanExperience (3credits)

PORT1A,1BElementaryPortuguese(5credits)

SPAN1A,1BElementarySpanish(5credits)

WS35FeministPhilosophy(3credits)cali

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Area 3. Social Sciences (Requirement:12credits)

Studentsarerequiredtotake12creditsin theareaofSocialSciences.HIS100A–200BfulfillstheCJCSocialSciencesGeneralStudiesrequirement and is offered at the JCJC. Please note: The Social Sciences General Studies requirement is not transferable from another institution. This requirement must be fulfilled at the CJC.

Jazz HistoryAfour-semestercourseexaminingthemusicalandculturaldevelopmentofjazz,fromitsante-cedentsinthemusicalculturesofWestAfrica,WesternEuropeandtheNewWorld,tothemusic that is performed internationally today. Throughextensivelistening,readingand discussion, students gain a solid understanding ofjazz,atwentieth-centuryurbandancemusicthathasbecomegloballycelebratedasa culturalartformembodyingtheidealsof freedom and democracy.

HIS100A Jazz History — The Roots of Jazz and Early Jazz, Pre-1900 – 1919 3 credits, 3 hours lectureThiscourseexaminestheinfluencesofWestAfrican,Caribbean,SouthAmerican,Asianand European music and culture on the developmentofjazzpre-1900,andontheearlymusicofNewOrleansthatbecameknowntotheworldasjazzby1917.ThecoursefocusesontheWestAfricanconceptualapproaches,practices, and cultural conventions that form thefoundationofjazz,anditsoriginsinspirituals,blues,ragtimeandotherAfricanAmericansacredandsecularmusic.ThedevelopmentofjazzisstudiedwithinthehistoricalcontextofAmericansocialforcesincludingpost-bellumsegregation,theindustrialboomandtheGreatBlackMigration,World War I, and the invention of the radio and sound recordings

HIS100B Jazz History — Style and Culture in America from 1920 – 1939 3 credits, 3 hours lectureAsurveyofearlyjazzstyles,fromtheJazzAgeoftheProhibitionera,throughthereignoftheswingbandsandthejitterbug,tothepre-WorldWarIImodernjazzjamsessionsinHarlem. ThemusicofLouisArmstrong,DukeEllington,CharlieParkerandmanyothersisstudied withinthecontextsofthepost-WorldWarIeconomicboom,theGreatDepression,ballroomsandbigbands,theriseofsoundmotionpictures,Americanmusicaltheater andtheGreatAmericanSongbook,amongother socioeconomic and cultural touchstones.

HIS200AJazz History — Style and Culture in America from 1940 – 1959 3 credits, 3 hours lectureThiscourseexploresjazzasanartform,witha focus on the musical innovations of modern jazzthroughthebeginningsoffreejazz.Stylesincludingbebop,hardbop,funk,Latinjazz,cooljazz,andotherstylescreatedbyDizzyGillespie,TheloniousMonk,MilesDavis,MaxRoach,theModernJazzQuartet,ArtBlakey’sandHoraceSilver’sJazzMessengers,OrnetteColemanandmanyoftheircollaboratorsareexamined,focusingoninstrumentalgrouping,structural, harmonic and rhythmic creativity, andfolkinfluences.Studentsdrawconnectionsbetweenthemid-centuryimpactofWorldWarII,theAtomicAgeandtheColdWar,the hegemony of television, advertising, the burgeoningCivilRightsMovementandotherhistoricalepochsupontheevolutionofjazz.

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HIS200B Jazz History — Style and Culture in America from 1960 – Present 3 credits, 3 hours lectureThis course surveys the range of idioms and subgenresofpost-Coltranejazz,particularlytheevolutionoffreejazzwiththeAACM,the1970sNewYorkLoftScene,jazzinEurope,themusicandideasofWyntonMarsalisjuxtaposedwiththeelectronicfusionmusicofMilesDavisandhiscollaborators,HerbieHancock,WeatherReport,ChickCorea,etal,andthereturnofjazztoitsdanceorigins.ThesteadyinfluxofglobalinfluencesfromtraditionalandcontemporarymusiciansfromAfrica,Asia,andtheNewWorld continues to infuse a diverse range of compositional styles, forms and instruments intothejazzworld.

Area 4. Mathematics and Quantitative Reasoning (Requirement:3credits)

Studentsarerequiredtotake3creditsintheareaofMathematicsandQuantitativeReasoning.

MAT300 Entrepreneurial Skills for Musicians 3 credits, 3 hours lectureAcoursedesignedtoprovidetheaspiring professionalmusicianwithentrepreneurial skillscriticaltoasuccessfulcareerinthemusicindustry.Usingasystematicapproachto learning, students gain an understanding of financialstatementanalysis,costingprojectsandprofitability,financialplanning,andtaximplication.Thiscourseprovidesstudentswithasolidfinancialfoundationapplicabletoawiderangeofmusicindustry-relatedventures.

ThefollowingsuggestedcoursesfulfillCJC’sMathematicsandQuantitativeReasoningGeneralStudiesrequirementandhavebeenapprovedfortransferfromBerkeleyCityCollege. Please note: Additional courses of interest may be approved on a case-by-case basis. For Berkeley City College course descriptions and class schedules, please visit http://www. berkeleycitycollege.edu/wp/programs/class-schedules-and-catalogs

BUS10IntroductiontoBusiness(3credits)

BUS20GeneralAccounting(3credits)

BUS53SmallBusinessManagement(3credits)

BUS202BusinessMathematics(3credits)

Area 5. Physical Sciences (Requirement:3credits)

Studentsarerequiredtotake3creditsintheareaofPhysicalSciences.SCI300fulfillstheCJCPhysicalSciencesGeneralStudiesrequirements and is offered at the CJC. Please note: The Physical Sciences General Studies requirement is not transferable from another institution. This requirement must be fulfilled at the CJC.

SCI300 Physics and Psychoacoustics of Music 3 credits, 3 hours lecture/labAnexplorationofthemechanicsandperceptionofmusic—fromtheenergythatexcitesthevibratingobjectandthespacethroughwhichitswavespropagate,tothehumanearandbrainthatexperienceitasmusic and reshape it through design. Topics include:waveproperties;soundproductionandtimbre;acousticsandpsychoacoustics;pitch,tuningandtemperament;andmusictechnology. Through an understanding of music from a scientific perspective, students worktowardexpandingandbuildingontheirexperienceandsensibilitiesasmusicians.Whileincorporatingsomebasicmathematics,this course focuses primarily on a conceptual understandingofcomplexphenomena.

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15 Joe Bagale / Music Technology

(Associate Professor, part-time) EastmanSchoolofMusic(11/2yrs.).Recordproducer;Manager,CoastRecorders,SF;awardedOutstandingRhythmSectionPlayerbyWyntonMarsalis;studiedwithRichThompson,SteveGadd,BenMonder,ClayJenkins,RonCarter,DarmonMeader,ScottAmendola;playedwithFredWesley(JamesBrown);fulltimememberofBayAreabandsincludingHotEinstein,RealisticOrchestra,DisappearIncompletely,andtheJazzMafia SymphonyOrchestra;leader,JoeBagaleBand.

FACULTY

Ambrose Akinmusire / Trumpet (Visiting Professor, on occasion)CJCVisitingProfessor.MAinMusic,USCandtheMonkInstitute;BMinPerformance,Man-hattanSchoolofMusic.StudiedwithVincentPinzerellafromtheNewYorkPhilharmonic,DickOatts,LewSoloff,LaurieFrink,TerenceBlanchard,BillyChildsandGaryGrant.Winnerofboththe2007CarmineCarusoInternationalJazzTrumpetSoloCompetitionand2007The-loniousMonkInternationalJazzCompetition.International performing and recording artist/cli-nician.PerformedwithJoeHenderson,Joshua Redman,SteveColeman,BillyHiggins, StefonHarris,JoshRoseman,VijayIyer, CharliePersip,theMingusBigBand,the SanFranciscoJazzCollective,JimmyHeath,JasonMoran,HalCrook,BobHurst,Terri LynneCarrington,RonCarter,andWallaceRoney,HerbieHancockandWayneShorter.www.ambroseakinmusire.com.

Laurie Antonioli / Voice; Chair, Vocal Jazz Studies (Full Professor, full-time)StudiedatMt.HoodCollegeandCalStateLongBeach.StudentofJoeHenderson,MarkMurphy;Professor,VocalJazzStudies,KugU.,Graz,Austria;NabelRecordsrecordingartist;international performing and recording artist/clinician;performedandrecordedwithGeorgeCables,BobbyMcFerrin,RichieBeirach,JoeBonner;bandleader,ForeignAffair;lyricist of Pauer-— Antonioli Songbook, soon tobereleased.www.laurieantonioli.com.

William R. Aron / Woodwinds (Associate Professor, part-time)M.MinPerformance,SanFranciscoState,1982;B.A.inMusic,UCBerkeley,1979.Professionalmusicianandmusiceducatorfor42years; specializinginclassicalsaxophoneplaying withtheSanFranciscoSaxophoneQuartet andSanFranciscoSymphonyamongothers.

Faculty Rankings

Full Professor: Resident faculty holding a Ph.D. or demonstratingtheequivalent.Widelyrecognizedperformersand/oracademiciansinthefieldofjazzwhoteachonaregularbasis.

Associate Professor: Resident faculty holding a Master’sdegreeordemonstratingtheequivalent.Widelyrecognizedperformersand/oracademicians inthefieldofjazzwhoteachonaregularbasis.

Adjunct Professor: Resident faculty holding the minimumofaMaster’sdegreeordemonstrating theequivalent.Widelyrecognizedperformers and/oracademiciansinthefieldofjazzwhoteach on occasion.

Instructor: Resident faculty holding the minimum ofaBachelor’sdegreeordemonstratingtheequivalent.Widelyrecognizedperformersand/oracademiciansinthefieldofjazzwhogiveappliedlessonsonaregularbasis.

Visiting Professor: Non-resident,nationallyorInternationallyrenownedperformersand/oracademicianswhoteachonoccasion.

Faculty Classifications

Full-time:Acourseloadof12classroomhours/weekand a load of up to 18 private studio instruction hours / weektaughtonaconsistentbasisbyresidentfaculty.

Part-time:Acourseloadoflessthan12classroomhours/weekandupto18privatestudioinstructionhours/weektaughtonaconsistentbasisbyresidentfaculty.

Adjunct:Acourseloadoflessthan12classroom hours/weektaughtonanintermittentbasisby resident faculty.

Instructor:Anindeterminatecourseloadofappliedlessonstaughtonaconsistentbasisbyresidentfaculty.

Visiting:Acourseloadofadeterminatenumberofclassroomhours/weektaughtforadeterminateperiodoftimebynon-residentfaculty.

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Peter Barshay / Bass (Instructor, part-time) StudiedatSanFranciscoConservatoryofMusic;ManhattanSchoolofMusic.HOTTEAProduc-tionsandPlatformRecordingsartist;hasper-formednationallyandinternationallywithMiltJackson,FreddieHubbard,SonnyStitt,EddieHenderson,WoodyShaw,PharoahSanders,BlueMitchell,TonyWilliams,JoeHenderson,JoeLovano,JohnnyGriffinandBobbyMcFerrin.www.peterbarshay.com.

David Belove / Bass (Associate Professor, part-time) StudiedatSanFranciscoStateandSanFranciscoConservatoryofMusic.Recordedand/or performedwithPeteEscovedo,JohnSantosandTheMacheteEnsemble,DaniloPerez,TitoPuente,FranciscoAguabella,RebecaMauleon,RayObiedo,MarcosSilva,JoeHenderson,MaxRoach,BlueMitchell,EddieHarris,MarkLevine,PatMetheny,LarryCoryellandZakirHussain.

Theo Bleckmann / Voice (Visiting Professor, on occasion)CJCVisitingProfessor.Nationalandinternationalperforming and recording artist and educator. PerformedwithLaurieAnderson,AnthonyBraxton,SteveColeman,DaveDouglas,PhilipGlass,MeredithMonk,MichaelTilsonThomas,JohnZornandtheBangOnACanAll-Stars.FeaturedsoloistwiththeAlbanySymphony,SanFranciscoSymphonyChorus,Estonian RadioChoir,MerceCunninghamDanceCom-panyandMarkMorrisDanceGroup.CurrentlyonfacultyatManhattanSchoolofMusic.Previ-ouslyonfacultyatNewYorkUniversity,TheNewSchoolandQueensCollege.Teachesvoiceprivatelyandinworkshopsandmasterclassesworldwide.www.theobleckmann.com.

Lee Brenkman / Recording, Sound (Associate Professor, part-time)Soundsystemoperation,design.Soundengineer,AvalonBallroom,FamilyDogProductions;headsoundtechnician,GreatAmericanMusicHall, StanfordJazzWorkshop,DickBright’sSROBand;mixedliveshowsforBillEvansTrio,StephaneGrappelli,CountBasieOrchestra,SarahVaughan,VanMorrison,AstorPiazzolla,DukeEllingtonOrchestra,Oregon;engineeredrecordingsbyEdBlackwell,BettyCarter,TitoPuente,Woody Herman,HamptonHawes,CarmenMcRae.

Anthony Brown / Drums/Percussion, Ethnomusicology (Full Professor, part-time)Composer, percussionist, ethnomusicologist, GuggenheimandFordFellow,Smithsonian AssociateScholar,andGRAMMYnominee. Dr.AnthonyBrownhascollaboratedwith MaxRoach,CecilTaylor,ZakirHussain, SteveLacy,DavidMurray,AnthonyDavis andtheSanFranciscoSymphony.Brown holdsanM.A.andPh.D.inmusic(ethnomusi-cology)fromUCBerkeley,andaMasterofMusicdegreeinjazzperformancefromRutgers University.HehasservedasaVisitingProfessorofMusicatUCBerkeley,anadvisorandcon-sultantforTheExploratorium,andpreviouslywasCuratorofAmericanMusicalCultureandDirectoroftheJazzOralHistoryProgramattheSmithsonianInstitution.HeiscurrentlyArtisticDirectorofFifthStreamMusic,andtheinterna-tionallyacclaimedAsianAmericanOrchestra.www.anthonybrown.org.

John Calloway / Flute, Piano (Visiting Professor, on occasion)PhDinInternationalandMulti-Cultural Education,U.ofSanFrancisco(inprogress); MAinMusicEducation,SanFranciscoState U.;BAinMusic,CityUniversityofNewYork.Multi-instrumentalist,composerandarranger injazzandLatinmusicstyles;performedthroughouttheUnitedStates,EuropeandLatinAmericawithIsrael“Cachao”Lopez,MaxRoach,OmarSosa,DizzyGillespie,PeteEscovedo,JesusDiaz,JohnSantos,QuiqueCruz,RebecaMauleonandWayneWallace.Recordingsinclude Diaspora, The CodeandcollaborationswithJohnSantos,JesusDiazandOmarSosa;faculty,SanFranciscoStateU.;clinician,StanfordJazzWorkshopandJazzCampWest;programcoordinator,PlazaCuba. www.johncalloway.com.

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Clairdee / Voice / Performance (Instructor, part-time) BAinFineArtsandEducation,U.ofColorado-Boulder;BSinInformationSystemsManagement,U.ofSanFrancisco.Vocalistandinternationalperformingandrecordingartist,specializinginteaching performance and presentation. Perfor-mancesincludeMontereyJazzFestival,TheJazzCruise,PlayboyJazzattheRoseBowl;performedwithCyrusChestnut,BuckyPizzarelli,DaveFishberg,RedHolloway,RayDrummond,BozScaggs,Bernard“Pretty”Purdie,TaylorEigstiandothers;openedforCountBasieOrchestra,DavidSanborn,EttaJames.FormervocaljazzfacultyatUCBerkeleyJazzEnsemblesandDiabloValleyCollege;teachingartistforSanFranciscoSymphony’s“AdventuresinMusic”educationprogram;voice-overtalentforApple,BankofAmerica,CaliforniaStateLottery,Coca-ColaandDiscoverChannel’sFitTV.www.clairdee.com.

Matt Clark / Piano / Accompanist (Instructor, part-time)BFAinJazzStudiesfromtheOberlinConserva-toryofMusic.Recordedand/orperformed withBobbyHutcherson,BennyGolson, EddieMarshall,JohnFaddis,David“Fathead” Newman,GeneBertoncini,JoshuaRedman,andTeddyEdwards.TouredextensivelythroughoutAsia,EuropeandtheUnitedStatesincludingappearancesattheMonterey,SanFrancisco,Vienne,BigSur,Stanford,andRochesterjazzfestivals in addition to televised performances forCNNShowbizTodayandnumerousPBSspecials.Clinician,lecturerinjazzhistory,andensembleinstructorattheStanford,OaktownandCazaderojazzworkshops.

Jeremy Cohen / Violin (Adjunct Professor, part-time)StudiedatSonomaStateU.andBrooklyn College.Member,TurtleIslandStringQuartet1991–93;founder,2-timeGrammyaward- winningQuartetSanFrancisco;member, ViolinjazzQuartet;faculty,HenryMancini Institute,UCLA;faculty,StanfordJazz Workshop;studentofAnneCrowden, ItzhakPerlman.www.violinjazz.com.

Kwami Coleman / Musicology; Piano and Percussion (Visiting Professor, on occasion)BornandraisedinNewYorkCity,wherehe beganhisformalstudiesatfouryearsofage onpianoinasmallstudioatCarnegieHall,KwamigraduatedfromtheFiorelloH.LaGuardiaHighSchoolofMusicandArtandPerformingArtsbeforeearningaBAandMAinmusicwithhonorsatHunterCollege,CityUniversityofNewYork.Performingwithseveraljazz,Afro-Cuban,hip-hop,soul,deephouse,andexperimentalensemblesinandaroundNewYorkCitywhileincollege,KwamiisnowaPh.D.candidateinmusicologyatStan-fordUniversitywhereheiswritingadissertationonMilesDavis’1964quintet.HecurrentlylivesinSanFranciscoandperformsonpiano,keyboards,andpercussionintheBayArea.

Sandy Cressman / Voice / Performance (Instructor, part-time)EducatedatUCBerkeleyandSanJoseStateUniversity;internationalperformingand recording artist/clinician. Cressman’s continuingexplorationofvariousVocalTechniques led her to create ConnectedVoice, a method for teaching vocal development and musicanship/eartraining simultaneously. TeachesConnectedVoicetechnique,BrazilianJazzsingingandJazzVocalPerformance.HasbeenArtist-inResidenceorlecturerat:JazzEducationNetworkConference,CornishInstituteoftheArts,SanFranciscoStateUniversity,CSULongBeach,KUGUniversity(GrazAustria),ASMM(Paris),VoiceConferenceMunich,JazzCampWest,StanfordJazzCamp,CaliforniaBrazilSummerCamp.BandleaderofcriticallyacclaimedHomenagemBrasileiraquintet,aswellasfeaturedartistwithRayObiedo’sMisturaFinaandJaiUttal’sPaganLoveOrchestra.Cressmanisalsoanin-demandstudiovocalistforLatinandWorldJazzstyles,mostrecentlyfeaturedon“BossaNovaDreams”withAkiraTana,BranfordMarsalisandArturoSandoval,aswellasrecordingcommercialsandsoundtracks.

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Taylor Eigsti / Piano (Visiting Professor, on occasion)CJCVisitingProfessor.StudiedmusicatU. ofSouthernCalifornia.ConcordRecordingArtist;2007Grammynominee;faculty, StanfordJazzWorkshopsince1999;leader,TaylorEigstiGroupwithfivealbumsasaleader;featuredonBETjazzchannel;performedwithJoshuaRedman;ErnestineAnderson,DaveBrubeck,DianeSchuur,JamesMoody,BobbyHutcherson,FredericaVonStade,PattiAustin,ChristianMcBride,RedHolloway,RufusReid,AlanBroadbent;featuredonMarianMcPartland’sPianoJazzonNPR;featuredinDownBeat Magazine, Billboard, Jazziz, Jazz Times, Keyboard Magazine.www.tayjazz.com.

Kai Eckhardt / Bass (Adjunct Professor, part-time)BAwithhonors,BerkleeCollegeofMusic.Internationally acclaimed performing and recordingartist,composerandeducator;performedwithSteveSmith’sVitalInformation,AlphonseMouzon,RandyBrecker,JohnMcLaughlin,BillyCobham,FareedHaque,CourtneyPine,ZakirHussain,GeorgeBrooks,MikeMarshall,andStanleyClarke.FacultyonoccasionatBerkleeCollegeofMusic,Boston;theBassCollective,NYC;AntonBrucknerCon-servatory,Austria;andMusician’sInstituteofTechnologyinLosAngeles.www.kaizone.com.

Steve Erquiaga / Guitar (Associate Professor, part-time)Nationalandinternationalrecordingandperformingartist;performedatMontreuxJazzFestival,BerlinJazzFestival,NorthSeaJazzFestival;performedwithBobbyMcFerrin,JoeHenderson,LesMcCann,JohnScofield,DavidByrne,TurtleIslandStringQuartet,PauloBellinati,AndyNarell,andPaulMcCandless;founder,leader,TrioParadiso;faculty,JameyAebersoldJazzClinics;publicationsincludeGuitar Duets and Arrangements from his CD Cafe Paradiso.www.erquiaga.com.

Daniel Cullen / Physical Sciences / Music Technology / Composition (Full Professor, part-time)Ph.D.,MAinCompositionfromUCBerkeley; B.MusinCompositionfromtheUniversityofOregon.Interestsinnotation,open-formscores,aleatoriccomposition,extendedtechniquesandlive electronics. Instructor in music technology anddirectoroftheLaptopEnsembleattheUniversityofSanFrancisco.

George W. Davis / Poetry / Literature (Adjunct Professor, part-time)BAinLiterature,St.LawrenceUniversity;GraduateStudies,PoetryandDrama,BreadLoafSchoolofEnglish&UCBerkeley;teachesEnglish,poetry,creativewriting,BerkeleyAdultSchool;tutorinAdultEducation;teacher,” LiteraryGrooveofJazz”,JCMS;co-producer,FlorioStreetConcerts;producer,JazzandtheWord,CJC;performerandreaderthroughouttheSanFranciscoBayArea.

Jeff Denson / Double Bass (Full Professor, full-time)DMAinContemporaryMusicPerformancewithanemphasisinComposition,UniversityofCaliforniaSanDiego;MMinJazzStudiesMagnaCumLaude,FloridaStateUniversity;BMinPer-formanceCumLaude,BerkleeCollegeofMusic.EnjaRecordsrecordingartistwithMinsarahandwiththeLeeKonitzNewQuartet.Nationaland international performing and recording artist;performedwithBobMoses,JoeLovano,CarlAllen,KennyWerner,AnthonyDavis,MarkDresser,GeoffreyKeezer,ClaudioPuntin,LionelLoueke,DanWeiss,RalphAlessi,CharlesMcPhersonandLeeKonitz.Selectperformancesinclude:BerlinJazzFestival,theJVCJazz FestivalParisandtheMontrealJazzFestival, The Kennedy Center and the Village Vanguard. www.jeffdenson.com.

Ann Dyer / Yoga (Adjunct Professor, part-time) Vocalist, lyricist, composer, international per-forming and recording artist, yoga instructor. Leader,“AnnDyer&NoGoodTimeFairies.”Recordings,Sunnyside,PremonitionRecords.StudieswithPanditMukesh,Desai,ShwetaJhaveri,DhanshreePandit,MarkMurphy.BAinDanceandPsychology,MillsCollege.www.anndyer.com.

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Bill Evans / Banjo (Associate Professor, part-time)PhDcandidate&MA,UCBerkeleyinMusic(Ethnomusicology);BA,UniversityofVirginia,Anthropology(Folklore);internationalperforming/recordingartistwhohasperformedwithDavidGrisman,PeterRowan&DryBranchFireSquad;author of Banjo For Dummies;guestclinician/artistinresidenceatBerkleeCollegeofMusic,VirginiaCommonwealthUniversity,CarletonCollege;directorofNashCampBanjoCamp;columnist for Banjo Newslettermagazine;2012CD In Good Companytoppedinternationalfolkandbluegrasscharts;mentoredChrisPandolfi(TheInfamousStringdusters),GregLiszt(BruceSpringsteen,CrookedStill),WesCorbett(JoyKillsSorrow),ErikYates(HotButteredRum) andJaymeStone;www.billevansbanjo.com.

Mimi Fox / Guitar (Instructor, part-time)International recording/performing artist and five-timeDownBeat Magazine International Critics Pollwinner.PerformedthroughoutEurope,Asia,theCaribbeanandAustralia. FestivalsincludeMontreal,Monterey,GuinnessCork,PerthandNorthWalesInternationalJazzGuitarFestival.AdjunctprofessorofJazzStudiesatNYU;guestclinician/artistinresidenceatAlaskaJazzWorkshop,BrittMusicFestival,YaleU.,CalArts,CornishCollegeoftheArts,U.ofOregon,USCandBerkeleyCollegeofMusic;featuredartistonMarianMcPartland’sPianoJazzonNPR;featuredartist,KennedyCenter.PerformedwithCharlieByrd,KennyBurrell,BranfordMarsalis,DavidSanchezand DianaKrall.www.mimifoxjazzguitar.com.

Todd M. Gascon / Business of Music (Associate Professor, part-time)JDUniversityofDayton;B.S.B.A.OhioNorthernUniversity.ToddGasconisanentertainmentandtechnologylawyerwiththeZentLawGroupinSunnyvale,California.Mr.Gascon’spracticeisfocusedintheareasofintellectualpropertylawandlicensing,withaparticularemphasisindigitalmedia, music, motion pictures and the visual arts. Mr.Gasconrepresentsartists,composers,bandsandindependentrecordlabelsinthenegotiationofdistribution,management,publishing,produc-tionandrecordingagreementsaswellasthelicensing of compositions and master recordings for use in commercials, motion pictures, televi-sionandvideos.Apartiallistingofhisclients,pastandpresent,includesDaveBinney,DonByron,JimCampilongo,DaveDouglas,MartyEhrlich,WayneHorvitz,HotClubofSanFrancisco,AndyLaster,KateMcGarry,MyraMelford,MickRossi,KendraShank,EdwardSimon,TinHatandCuongVu.Inaddition,Mr.GasconisaboardmemberofRova:Arts,thenon-profitorganizationoftheRovaSaxophoneQuartet.www.zentlawgroup.com. Joe Gilman / Piano (Visiting, on occasion)PhDinEducation,U.ofSarasota;MAinJazzandContemporaryMedia,EastmanSchoolofMusic;BAinPianoandJazzStudies,IndianaU.Fac-ulty,AmericanRiverCollege,BrubeckInstitute;performedwithEddieHarris,BobbyHutcherson,WoodyShaw,ChrisBotti,MarlenaShaw,SlideHampton;recordedwithTootieHeath,JoeHen-derson,JeffWatts;awarded2004GreatAmericanJazzPianoCompetition;InternationalJazz Ambassador,KennedyCenterforthePerformingArtsandUSIA;recordingsonSunnysideand Caprilabels.www.joegilman.com.

John Gove / Trombone (Full Professor, full-time)MMandBMinJazzCompositionandPerformance,EastmanSchoolofMusic;winneroftwoDownbeatawardsforcompositionandarranging.DirectorofJazzStudiesatLaneyCollege.Hasperformedand/orrecordedasatrombonistwithTerenceBlanchard,theMingusDynasty,MariaSchneider,TonyBennett,DianaKrall,Dr.John,PeterGabriel,HueyLewis,Smashmouth.HisarrangementshavebeencommissionedandperformedbysuchartistsasLedisiwiththeCountBasieOrchestraandtheSFJazzAllStars.

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Kenneth Helman / Voice(Instructor, part-time)PostgraduatefellowshipinAccompanying,ManhattanSchoolofMusic;postgraduatefellowshipatAmericanOperaCenter,TheJuilliardSchool;B.M.inPianoPerformance,PeabodyConservatory;VoicePedagogyandPerformance,WestminsterChoirCollege;VocalFellowship,TanglewoodFestival;andvocalstudywithBrianGill,NewYorkUniversity. AfacultymemberattheCaliforniaJazzConservatory and composer and in residence atLittleOperainSanFrancisco,Kenhasmaintainedteachingstudiosfor35years.Asaperformer, he has appeared as a singer/pianist in numerous venues including Carnegie Hall, Maxim’s,TheTownHall,MerkinConcertHall,TheLensicTheater,CountBasieTheater,TheRainbowRoomandTheAlgonquinHotel.KenhasworkedextensivelywithStingonnumerousrecordingandtheaterprojects.Asasongwriter,Ken produced a recording titled “Emerging” in2009andisatworkonanewmusicaltitled“StartingOver”.www.kenhelman.com

Terri Hinte / Music Business — Publicity (Associate Professor, part-time)IndependentpublicistwhosecurrentclientsincludetheCJC,JamesCarter,DaniloPerez,BobbyBroom,CliftonAnderson,DaveHolland,EdReed,NicolasBearde,AnthonyBrownandtheAsianAmericanOrchestra,theHotClubofSanFrancisco,and(since1978)SonnyRollins.ServedasFantasyRecords’DirectorofPress &PublicInformationformorethan30years. Recipientofa2006“ATeam”AwardfromtheJazzJournalistsAssociation.www.terrihinte.com.

Benny Green / Piano(Artist in Residence, 2014 –15)AmemberofArtBlakey’sfamedJazzMessengers,BennyGreenservedasstarsidemanwithsuchnotablesasBettyCarter,FreddieHubbardandRayBrown.HehasappearedonhundredsofrecordingswiththemandwithOscarPeterson,EttaJones,MiltJackson,andRussellMalone,tonameonlyafew.Heformedhisowntrioin1991,andhasproduceddozensofrecordings, asaleaderandwithothers,forBlueNote,Telarcandotherlabels.Hismostrecentrelease,MagicBeans(Sunnyside,2013),ishisfirstself-produced recording of all original compositions, andincludeshisJazzMessengerteammate, PeterWashingtononbassandKennyWashingtonondrums.BennyGreenwasthefirstrecipientof the Glenn Gould International Protégé Prize in Music(1993),andhisremarkablecareerstretchesbacktohisdaysatBerkeleyHigh,intheschool’sinfluentialJazzEnsemble.Mr.Green is accepting students in private instruction inspring2014,andwillteachacourseentitled“TheLanguageofHardBop”inthefall. www.bennygreenmusic.com

Alan Hall / Drums (Associate Professor, part-time)Advisor,DrumProgram.FormerassistantprofessoratBerkleeCollegeofMusic;adjunctfacultyatUCBerkeley;clinician;author; performedwithErnieWatts,PaulMcCandless,EddieHarris,BruceWilamson,ArtLande,TomCoster,KitWalker,RebeccaParris,KaiEckhardt,StuartHamm;artistendorsementwithZildjianCymbals,VicFirthSticks,AquarianAccessories.www.jazzdrumming.com.

“ My experience at the CJC has been nothing short of magical every single day.

The faculty, in addition to being the best players in their field, are also great

teachers. They really demonstrate that they want the students to succeed

in becoming the next generation of great players.”

Dillon Vado CJC Student

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Peter Horvath / Piano (Instructor, part-time) MA,BerkleeCollegeofMusic;BelaBartokConservatoryofMusic,Budapest,Hungary;ViennaConservatoryofMusic.Performed,toured,recordedwithVictorBaileyGroup,BobbyHutcherson,JoeHenderson,LalahHathaway,OaklandSymphony,BobSheppard,BennieMaupin,RichieCole,RayObiedo;arrangedandrecordedforArethaFranklin.www.peterhorvath.com.

Erik Jekabson / Trumpet (Associate Professor, part-time)MAinComposition,SFConservatoryofMusic;BMus.inTrumpet,OberlinConservatoryofMusic.TouredwithJohnMayer,IllinoisJacquetandGalactic, and has composed for fi lm and dance projects.RecordedasoloalbumIntersection on FreshSound/NewTalentlabel.CurrentlyteachesatBerkeleyCityCollegeandLosMedanosCollege.www.jekabson.tripod.com.

Raz Kennedy / Voice (Instructor, part-time)FoundingmemberofBobbyMcFerrin’sVoicestra;vocalcoachformanyBayAreaandinternationallyknownartistsincludingAdamDuritzofCountingCrows,NaradaMichaelWalden(producerforWhitney,ArethaandMariah),LosTigresDelNorte,HilaryDuff,LynnAsher,SpencerDay,JasmineGuy,membersofMetallica,LavaySmith,JamesNashoftheWaybacks,PollyannaBushandmanyothers.

Laura Klein / Alexander Technique (Associate Professor, part-time)BAinMusic,SUNYBuffalo.JazzStudiesatBerkleeCollegeofMusic.CertifiedTeacheroftheAlexanderTechnique,CenterfortheAlexanderTechnique,AmSAT,STAT.InstructorofAlexanderTechnique,UCBerkeleyMusicDepartment150Program.Faculty,BayAreaCenterfortheAlexanderTechnique(TeacherTrainingCourse),2001-08.PrivatepracticeteachingtheAlexanderTechniqueinBerkeleysince1987.TaughtpianoandjazzensemblesatSFCommunityMusicCenterandpianoatBerkleePrivateStudies.Activejazzpianist/composer;fiverecordings;currentlyco-leaderofFivePlayJazzQuintet.www.lauraklein.net.

Mary Ann Koory / Literature; Chair, Department of General Studies(Full Professor, part-time) Ph.D.inLiterature(Renaissance),UCBerkeley.LecturerinShakespeareandShortFiction,SFSU.LecturerinShakespeareandRenaissanceDrama,UCBerkeley.InstructorinCreativeWritingandLiterature,UCBerkeleyExtension.Nationalaward-winningUCBerkeleyExtensioncourses(online)inLiterature.HonoredInstructor,U.C.BerkeleyExtension.

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Jason Lewis / Drums (Instructor, part-time)BAinMusicPerformancefromtheClassicalPercussionProgram,SanJoseStateU.Privateteacher,comboassistantatStanfordJazzWorkshop,clinicianfortheSanJoseJazzSociety.HasperformedwithJohnStowell,GaryBurton,GilGoldstein,JamesMoody,MarkMurphy,BobSheppard,SteveRodby,PaulMcCandless,NormaWinstone,LarryCoryell,DarolAnger,ReginaCarter,JohnnyFrigo,JamesCarter,JohnHandy,AntonSchwartz,MarkLevine,PeterApfelbaum,PaulNagel,andKurtElling.HasalsoperformedwiththeSanJoseSymphonyandtheSanJoseCivicLightOpera.RecordedandtouredinternationallywithBozScaggs,MichaelBrook,DjivanGasparyan,AnnDyerandTaylorEigsti.CanbeheardonnumerousrecordingsaswellasTV(SparkonPBS)andmoviesoundtracks(Affliction,AlbinoAlligatorandRatatouille).

Frank Martin / Piano, Keyboards (Adjunct Professor, part-time)MusicDirectorforNaradaMichaelWalden,PattiAustin,AngelaBofill;CarnegieHallappearanceswithSting,JamesTaylor,EltonJohn;Recordproducer/arrangerforAlJarreau,TurtleIslandStringQuartet,JoeyDeFrancesco,MimiFox,MaryJenson,MollyHolm,Deuce,Tuck&Patti,KarenBlixt;performed/recordedwithJohnMcLaughlin,BuddyMontgomery,JoeFarrell,DizzyGillespie,LarryCoryell,HerbieHancock,StanleyJordan,StevieWonder,Airto,DoriCaymmi,DianneReeves,PatriceRushen,TrilokGurtu,RichardBona;Faculty,UCBerkeleyJazzEnsembles. www.frankmartinproductions.com

Jeff Marrs / Drums (Associate Professor, part-time)BAandMAinJazzPerformancefromTheNewEnglandConservatory;worksregularlywithMarcusShelbyJazzOrchestra,TheMelMartinQuartet,The“Dynamic”Ms.FayeCarol;has performedwithDr.LonnieSmith,MarcCary andGeorgeRussell;part-timefacultymember,LosMedanosCollege,DiabloValleyCollege, andUCBerkeley.

Janet Kutulas / Voice (Adjunct Professor, part-time) BM,SanFranciscoConservatoryofMusic,1988.MusicDirector,KITKAWomen’sVocalEnsemble.TrainedwithBulgariansingersTzvetankaVarimezova,KremenaStancheva,andUkrainiansingerMarianaSadovska,andothers.AwardedaHertzFellowshipfromUCBerkeley.PerformedwithA.C.T.;LeMystèredesVoixBulgares;LindaTilleryandtheCulturalHeritageChoir;MarcelKhalife;andonPrairieHomeCompanion.PerformedasaflutistwiththeBerkeleySymphony,CaliforniaSymphony,the Civic Orchestra of Chicago and the Illinois Philharmonic.Asafoundingmember,playedfor15yearswithEARPLAY;alsoComposersInc.,LeftCoastChamberPlayersandintheSFSymphony’sNewandUnusualMusicSeries.www.kitka.org.

Art Lande / Piano Piano (Visiting Professor, on occasion) Grammy-nominatedrecordingartist,internationallyknownpianist,composer,drummer and educator. Has performed withJoeHenderson,WoodyShaw,BobbyHutcherson,SteveSwallow,CharlieHaden,KennyWheeler,SheilaJordan,MarkIsham,PaulMcCandless,JanGarbarekand many others.

Jay W. Lehmann / Trumpet (Full Professor, full-time) MAinTrumpetPerformance,CSUEastBay;BAinMusic,UCDavis.CaliforniaLifetimeTeachingCredential;Chairman,LaneyCollegeMusicDepartment;Director,LaneySummerMusicProgram;performedattheMontereyJazzFestivalandwithDonMenza, BillWatrous;studiedwithJohnCage.www.laney.peralta.edu.

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Paul Mehling / Guitar, Tenor & Plectrum Banjo, Violin, Viola, Bass (Associate Professor, part-time) LeaderoftheHotClubofSanFrancisco;interna-tional touring and recording artist. “Godfather ofgypsyjazzinAmerica(accordingtoPBS)”;producer of CD recordings and Instructional DVDSforguitar;InternationalAssociationofJazzEducatorsaward-winner.www.HCSF.com.

Hafez Modirzadeh / Theory, Saxophone (Adjunct Professor, part-time) PhD,WesleyanUniversity(1992),forhisoriginal“chromodal”approachtojazz.Since1998, Professor of World Cultures Program at SFState’sSchoolofMusicandDance.1989,‘91NEAJazzFellow,and2006FulbrightSeniorLecturertoworkwithGnawanandFlamencomusiciansinMoroccoandAndalucia.Aninter-national performing/recording artist and educa-tor,ModirzadehhasworkedwithDonCherryandPeterApfelbaum’sHieroglyphicsEnsemble,OrnetteColeman,JohnHandy,ZakirHusseinandMarkIzu’sCircleofFire,SteveLacyandAnthonyBrown’sAsianAmericanOrchestra,OliverLake,JamesNewton,LeoSmith,OmarSosa,andmanyAsianandAsianAmerican artists including Fred Ho, Danongan Kalanduyan,AkiraTana,KennyEndo,FrancisWongandAsianImprovArts.

Susan Muscarella / Piano / Dean of Instruction (Full Professor, full-time) BAinMusicComposition,UCBerkeley.PhDcandidateinMusicology,UniversityofÉvora,Portugal. Founding President and Dean ofInstruction,CJC,Inc.Director,UCJazzEnsemblesprogram1984–89;composer,arrangerandrecordingartist;performancesatmajorclubsandfestivalsincludingYoshi’s,KeystoneKorner,GreatAmericanMusicHallandtheLighthouse,andMonterey,BerkeleyandConcordJazzFestivals;featuredonMarianMcPartland’sPianoJazzonNPR;recipientofa2008“ATeam”AwardfromtheJazzJournalistsAssociation;memberoftheBoardofDirectors,ChamberMusicAmerica.www.cjc.edu.

Kim Nalley / Voice (Adjunct Professor, part-time) BAinHistory,UCBerkeley.Awardedoneof the“TenMostInfluentialAfricanAmericansintheBayArea”;internationallyacclaimedjazzandbluesvocalist;actressandformerowner ofJazzatPearl’s.www.kimnalley.com.

Joyce Pricco / Voice Voice (Associate Professor, part-time) MasterofMusic.MusicEducation,BostonUniversity;BachelorofMusic,MusicEducation-Voice,SanFranciscoStateUniversity;CertificateofCompletion,MultimediaStudies,DiabloValleyCollege.BayAreafreelancemusician, 20+yearsinvenuesthroughouttheBayArea;privateinstructionsince1978;instructoratDiabloValleyCollegeandBradleySchoolofMusic;musicdirectoratSt.MichaelandAllAngelsEpiscopalChurch.

Evan Price / Violin (Associate Professor, part-time) AnativeofDetroit,MI.Rootsinsquaredancebands,stringquartets,andbluesbands.AttendedTheClevelandInstituteofMusic andtheBerkleeCollegeofMusic.Performingmemberofthetwo-timeGrammy®-award-winningjazzensembleTurtleIslandQuartet,whichhasreleasedfivealbums,performedinternationally,andcollaboratedwithPaquitoD’Rivera,TheYingQuartet,Dr.BillyTaylorandKennyBarron,andSergioandOdairAssad.PerformingmemberofthegypsyjazzbandTheHotClubofSanFrancisco,whichhasreleasedsixalbums,andperformednationallyandinternationally.ComposerandarrangerwithHCSF,TurtleIslandQuartet,QuartetSanFrancisco,ProvidenceStringQuartet,IrishfiddlerLizCarroll,OrchestraNashville,TheSanFranciscoGirls’Chorus,andtheNewCenturyChamberOrchestra.Formermemberofthemusic faculty at Wellesley College.

Jackeline Rago / Cuatro, Afro-Venezuelan Percussion (Adjunct Professor, part-time) Multi-instrumentalist,nationalandinternationalperformer,composer,arranger,educator;MusicDirector,VenezuelanMusicProject;awardedCACArtistInResidenceGrant.www.jackelinerago.com.

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John Santos / Percussion (Associate Professor, part-time) Percussionist, producer, composer, recording artist,writerandhistorian.MultiGrammynominee(5);FounderandDirector,TheMacheteEnsemble,1985–2006;performedand/orrecordedwithDizzyGillespie,TitoPuente,Santana,Cachao,EddiePalmieri,MaxRoach,McCoyTyner,SteveTurre,BobbyHutcherson,LaloSchifrin,JamesMoody,TheLatinGiants ofJazz,OmarSosa,BuenaVistaSocialClub,Batacumbele,LázaroRos,FranciscoAguabella,ArmandoPeraza,ElConjuntodeClaveyGuaguancó,JohnFaddis,andMarkMurphy.Lecturedand/orofferedresidenciesattheBerkleeSchoolofMusic,Yale,UCLA,WhittierCollege,MichiganState,U.ofWisconsinatMadison,DillardU.,UCBerkeley,UCSacramento,UCSantaCruz,UCMontereyBay,SanJoseStateU.,SFStateU.,HumboldtStateU.,andBrighamYoungU.,aswellasthrough-outEuropeandLatinAmerica.CurrentlyonfacultyoftheCollegeofSanMateo,JazzCampWest, and director of the highly acclaimed John SantosSextet.

Jaz Sawyer, / Drums, Percussion (Visiting Professor, part-time) MPA,MetropolitanCollegeofNewYork;BFA,MannesJazz&ContemporaryMusicProgram. ASanFrancisconative,drummerandpercus-sionistJazSawyerhasperformedandrecordedwithmajorartistsincludingWyntonMarsalis,GeorgeBenson,PhilLesh&Friends,Abbey Lincoln,SFSymphony,LincolnCenterJazz Orchestra,IrvinMayfieldamongothers. HehasperformedatTheBlueNote,TheVillageVanguard,CarnegieHall(NY),DaviesSymphonyHall(SF),TheNewMorning(Paris),TheCon certgebow(Germany),RedSeaFestival(Israel),andtheNorthSeaJazzFestival(CapeTown).Founder and CEO of Pursuance Records, he is also actively involved in communities in the SanFranciscoBayAreaandNewYork,andcon-tinuestoconductworkshopsandspecialeventsthroughout the country as part of his mission to improve music education for young musicians. www.pursuancerecords.com.

Glenn Richman / Bass (Associate Professor, Part-time)MannesSchoolofMusic(1yr);BerkleeCollegeofMusic(2yrs).Advisor,JCMSBassProgram;studentofBusterWilliams,GeorgeMrazandMikeLongo;performedwithBobbyHutcherson,JonHendricks,DaveLiebman,ChetBaker,BennyGreen,DakotaStaton,ChrisConnor,TomHarrell,EddieHenderson,JohnHicks,MikeClark,JackWilkins,BillyHart,LarryWillis,GeorgeColemanandMickeyRoker;faculty,BrubeckInstitute,UCBerkeleyandChabotCollege.

Rita Sahai / Voice (Adjunct Professor, part-time)Performing artist, educator and composer. AnativeofAllahabad,India,thediscipleofrenownedvocalistPanditRamaShankarMishra,specialistintheBenaresGharanastyle.StudentofsarodmaestroUstadAliAkbarKhanfocusingontheSeniAllaudinGharanastyle.PerformedthroughouttheUnitedStates,Canada,UnitedKingdom and India, recorded several solo CDs, andcollaboratedonmajorrecordingprojectswithGrammyAward-winningartistBélaFleck,andrenownedchoreographer,AlonzoKing.CurrentlyonfacultyattheAliAkbarCollegeofMusic.

Jim Santi Owen / Indian Percussion (Associate Professor, part-time)MAinWorldMusic,CalArts.TrainedinIndianpercussionunderPanditSwapanChaudhuri,T.H.SubashChandran,andK.Sekar.StudentofCharlieHaden,JamesNewton,andTootieHeath,andAfricandrumminganddancefromtheLadzekpoBrothers.PerformedwithPharoahSanders,AlonzoKing,HamzaelDin,MickeyHart,AlamKhan,GeorgeBrooks,SteveSmith,ChitreshDas,GamelanSekarJaya,andJai Uttalamongothers.OnfacultyattheAliAkbarCollegeofMusic,theCJC,DominicanUniversity,andLinesBalletSchoolandis currentlytheMusicalDirectoroftheSanFranciscoWorldMusicFestival. www.jimsantiowen.com.

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Anton Schwartz / Saxophone (Visiting Professor, on occasion)MSinComputerScience,StanfordU.;NationalScienceFoundationFellow;BAinMathematicsandPhilosophy,HarvardU.,magnacumlaude,PhiBetaKappa.Faculty,StanfordJazzWorkshop;clinician,BrubeckInstitute;performer,composerandrecordingartist;headliner,BlueNote,Yoshi’s,BluesAlley,MontereyJazzFestival;featuredartistonNPR’sJazzSet,2005.www.antonjazz.com.

Dave Scott / Trumpet (Adjunct Professor, part-time)MAinTrumpetPerformance,U.ofNorthernColorado;BAinInstrumentalMusic,U.ofMichigan.Nationalperformingandrecordingartist,jazz,classicalidioms;leadtrumpet,ContemporaryJazzOrchestra,TheRealisticOrchestra,MarcusShelbyJazzOrchestra;performswithBozScaggs,GlideMemorialChurchChangeBand,BrassMonkeyBand;founderofTrumpetSupergroup,DaveScottJazzQuartet.www.davescott.org.

John Shifflett / Bass (Instructor, part-time) AttendedgraduateschoolinMusic,U.ofIowa.ServedonthefacultyoftheJazzStudiesprogram,U.ofIowa.CurrentlyteachingbassandsmallensemblesatSanJoseStateUniversity.Playedcountless studio sessions and many pit orchestras;touredwithDaveLiebman, BozScaggs,TaylorEigsti,MadeleinePeyroux,ScottAmendolaBand;alsoperformedwithRedHolloway,JohnZorn,BobbyHutcherson,NormaWinstone,JohnStowell,AnnDyer,ErnieWatts,SmithDobson,ToshikoAkiyoshi,HaroldLand,KurtEllingandmanyothers.

Marcos Silva / Piano (Associate Professor, part-time) Advisor,CJCBrazilianProgram.Nationalandinternational performing and recording artist, composer,arranger,producer,educator;per-formedwithLenyAndrade,EmilioSantiago,MarcioMontarroyos,JonLucien,ClaudioRoditi;MusicDirector,arranger,keyboardsforFloraPurim,Airto,ToninhoHorta,PaquitoD’Rivera,BudShank,RicardoSilveira,DoriCaymmi,NanaCaymmi,DaniloCaymmi,EduLobo,Joyce;leader,MarcosSilvaandIntersection.

Nate Sloan / Piano/Banjo (Associate Professor, part-time)BAinMusic,BrownUniversity;PhDcandidateinMusicHistory,StanfordUniversity;Researchonjazz,TinPanAlleyandJewishmusic,withemphasisonurbangeographyandmusicalmap-ping;Composerandlyricistinmusicaltheatre,includingLeavittsburg,OH(2009)andBazandMe(2010);Pianistand(occasional)banjoist.

John Stowell / Guitar (Visiting Professor, on occasion)Thirtyyearsoffreelanceexperienceteachingandplayinginternationally,adjunctfacultyatnumerouscollegesinthePacificNorthwest,publishedauthor(MelBayandTruefire),contrib-utingcolumnist(Guitar Player, DownBeat, Canadian Musician,etc.),tenCDsasaleader,twelveasaco-leader.PerformancecreditsincludePaulHorn,MiltJackson,LionelHampton,DaveLiebman,BillyHart,DonThompsonandPeteChristlieb.www.johnstowell.com.

Akira Tana / Drums (Adjunct Professor, part-time) BMinPercussion,NewEnglandConservatory,1979;BAinEastAsianStudies,HarvardUniversity,1974.PerformedwithjazzgreatsSonnyRollins,SonnyStitt,ZootSims,HubertLaws,MiltJackson,JimHall,ArtFarmer,ThePaul Winter Consort, Paquito D’Rivera, James Moody,J.J.Johnson,LenaHorne,andTheManhattanTransfer,amongothers.PerformedattheTanglewoodFestivalunderthedirectionofLeonardBernstein,SeijiOzawaandGuntherSchullerandhasaccompanieddiverseartistssuchasCharlesAznavour,MauriceHinesandVanDykeParks.TeachesprivatelyandatSanFranciscoStateUniversity.Conductsclinicsand master classes throughout the country sponsoredinpartbyYamahaDrumsand VicFirthSticks.www.akiratana.com.

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Arjun Verma / Sitar (Associate Professor, part-time) BAinPsychologywithathesisinmusiclearningtechniques,DominicanUniversityofCalifornia.AstudentofsarodmaestroUstadAliAkbarKhan.RecipientoftheprestigiousShensonFellowshipfromtheSanFranciscoFoundation.PerformedthroughouttheUSandEuropeincludingtheUnitedNationsinGeneva,Switzerland,theNewSchoolinNewYorkCityandPragueCastleinPrague,CzechRepublic.CurrentlyonfacultyattheAliAkbarCollegeofMusic.

Marc van Wageningen / Electric Bass (Associate Professor, part-time) SanFranciscoBayAreaelectricbassistandrecordingartistspecializinginfunk,Latinandjazz.PerformedwithDianeReeves,TowerofPower,PeeWeeEllis/MaceoParker,SteveSmith,StanGetz,GeorgeDuke,FranciscoAquabella,PeteEscovedo,EddieMarshall,SheilaE.andtheE.TrainandAndyNarellamongothers.RecordedwithSteveWinwood,SheilaE.,TomGrant,DavidGaribaldi,PeteEscovedo,RayObiedo,LindaTillery,CorneliusBumpusandTeresaTrullandBarbaraHigby.Servedashousebandmemberfor The Wayne Brady Show, But Can They Sing and The One.Marchasadebutrecordingoutunder the VW Brothersnametitled“Muziek”onPatois Records.

Sheryl Lynn Thomas / Business of Music — Marketing (Associate Professor, part-time) BAinDramafromSanFranciscoStateU.withemphasisonMusicalTheater.MarketingDirector,CJCInc.;MarketingandPublicityManager,PatoisRecords;Latinjazzandworldmusicrecordingartist;awardrecipientandhonorarymemberoftheInternationalThespianSociety;vocalandactingtrainingwithSanFranciscoAcademyforThePerformingArts,SeydwaysActingStudioandJohnHowardSwain.www.fantabulousink.com

Mads Tolling / Violin, Viola (Associate Professor, part-time)Internationallyrenownedviolinist,violist,andcomposer.Two-timeGrammyaward-winnerwiththeTurtleIslandQuartet.Asviolistwiththequartet,2003–2007andnowasfirstviolinist,2007–present,Madsmaintainsanactivetouringandrecordingscheduleaswellascomposingandgivingmasterclasses.ToursasjazzviolinistwiththeacclaimedbassistStanleyClarkeandhistouringband.In06and08aspartofTurtleIslandQuartet,MadswontwoGrammyawardsforBestClassicalCrossoveralbumwiththerecordings“4+Four”and“ALoveSupreme—TheLegacyofJohnColtrane.”TollinghasreceivedDenmark’sSanktAnnae’sAwardforMusicalExcellenceaswellasgrantsfromQueenMargaret,theSonningFoundationandtheBerkleeElvinJonesAward.HehasperformedwithPaquitod’Rivera,KennyBarron,JoeLovano,StefonHarris,Sergio&OdairAssad,LeoKottkeandRussellFerrante.

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Katherine Westine / Piano (Associate Professor, part-time) Post-graduatestudiesinEarlyMusic,NorddeutscheOrgelakademie,Bremen,Germany;MAinOrganPerformance,LoneMountainCollege,SanFrancisco;BAinMusicHistory,U.ofWashington,Seattle.Co-producer,FlorioStreetConcerts.

Michael Zilber / Saxophone (Full Professor, part-time)PhDinComposition,NYU;MMinComposition,TuftsU.;BMus.inComposition,NewEnglandConservatory.Nationalandinternationalperforming and recording artist, composer, arranger,educator;performedwithDizzyGillespie,SonnyStitt,DaveLiebman,MiroslavVitous,BobBerg,EddieHenderson,FareedHaque,GeoffreyKeezer,DonaldHarrison,JohnHandy,DaveDouglas,RachelZ,JamesGenus,NaradaMichaelWalden,BarryFinnerty,SteveSmithandBruceBarth.www.michaelzilber.com.

Dann Zinn / Saxophone/Flute (Associate Professor, part-time) BAMusicPerformanceCSUEB,UCLA3-timeNFAAOutstandingTeacherRecipient.LeaderDannZinnBand.Featuredonover40CDs.Performed/RecordedwithJoeHenderson,DaveEshelman,JeffTainWatts,MaryWells,FrankHarris,BarryFinnerty.FacultyCSUEB,UCB,andBrubeckInstitute.www.dannzinn.com.

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Lauren Adams

Development Consultant

Bill Aron

Bookkeeper

Lee Brenkman

SoundTechnician

Robert Soper

Piano Technician

Poulson Gluck Design

Graphic Design

Kristine Seinsch

Owner,Jazzcaffè

CJC BOARD OF DIRECTORS

Susan Brand (Director and Chairman of the Board)

Ed.D. Clinical Psychologist

Clifford Brown, Jr. (Director)

President,BrownRadioandAudioSolutions

Charles Charnas (Director)

FormerVicePresident,AssociateGeneralCoun-

sel,CorporateLaw,andAssistantSecretaryat

Hewlett-PackardCompanyandAppleInc.

James Ellis (Director)

BranchManager,

UniversityBranchCenter,WellsFargo

Jerry Fiddler (Director)

Principal,ZygoteVentures;Chairman,Solazyme

Sy Grossman (Director, Assistant Secretary)

Chief of Gastroenterology,

OaklandKaiserPermanente,retired

Rita Hargrave, M.D. (Director)

Geriatric Psychiatry

CJC ADMINISTRATIVE AND PROGRAM STAFF

Susan Muscarella

Founding President and Dean

of Instruction, CJC, Inc.

Rob Ewing

Director,

JazzschoolCommunityMusicSchool

Laurie Antonioli

Chair,

CJC Vocal Program

Director,

JazzschoolCommunityMusicSchool

Vocal Program

Erik Jekabson

Director,

JazzschoolYoungMusiciansProgram

Joshua Birch

DeanofAdministration

Registrar and Custodian of Records

Dean Muench

OperationsManager;

Manager,CJCBookstore

Jesse Rimler

Program and Events Coordinator

Mary D’Orazi

DevelopmentAssociate

Herman Bosset, Eli Goldlink,

Erika Oba & Christian Sullivan

AdministrativeAssistants

Mike Charlasch

MarketingConsultant

Sheryl Lynn Thomas

DigitalMarketingManager

Hollis Ashby

Communications Consultant

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dTyler Johnston

(Director and Vice Chairman of the Board)

ExecutiveVicePresident,Marketing,

Dreyer’s Grand Ice Cream, Inc., retired

Bertram Lubin, M.D. (Director)

PresidentandChiefExecutiveOfficer,

Children’sHospital,OaklandResearchInstitute

Richard A. Lyons (Director, Secretary)

Partner,Wendel,Rosen,Black&Dean,LLP,

AttorneysatLaw

Larry Marcus (Director)

ManagingDirector,WaldenVentureCapital

Ernie Mieger (Director, Treasurer)

Real Estate Operative

Susan Muscarella (Director)

Founding President and

Dean of Instruction, CJC, Inc.

Gregg Perloff (Director)

Founder and CEO

AnotherPlanetEntertainment

Jim Reynolds (Director)

Roastmaster emeritus at Peet’s Coffee and Tea.

Pastpresident,PacificCoastCoffeeAssociation

Andrew Rumer

(Director and Treasurer of the Board)

CertifiedPublicAccountant,retired

M. David Sherrill (Director)

CFA,CFP,MorganStanleySmithBarney,

NewYork,NY

Kevin Whitman (Director)

President and CEO of Whitman Development

Company and Whitman Capital

Michael Yovino-Young (Director)

GeneralCertifiedRealEstateAppraiser

Michael Zaninovich (Director)

VicePresident/SeniorInvestmentManager

Wells Fargo

Denny Abrams (Director)

Partner,Abrams-MillikanDesignConstruction

Development, Emeritus

Sherie Friedlander (Director)

SherieFriedlanderInsuranceAgency,Emeritus

Vaughan Johnson (Director)

M.A.T.,M.D.,F.A.C.S.,Emeritus

James J. Keefe (Director)

PresidentandOwner,

BCCCorporation,Emeritus

Amy Orton (Director and CFO)

AttorneyatLaw,Emeritus

John Papini (Director)

Real Estate Investor, Emeritus

Walter Riley (Director)

AttorneyatLaw,Emeritus

Danny Scher (Director)

President,DansunProductions,Vice-President

BillGrahamPresents,retired,Emeritus

ADVISORY BOARD

Tom Carr

Carole Davis

Paula Forney

BennyGreen

Charles Hamilton

Richard Hindman

StaceyHoffman

MarkLevine

Jason Olaine

Patricia Phillips

David Ring

JayneSanchez

ChuckSher

MerrileeTrost

Wayne Wallace

Peter Williams

Des

ign

: MalmquistDesign,PoulsonGluckDesign

Ph

oto

gra

ph

y: GrasonLittles/Cover;HaliMcGrath/Interiorphotos

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applica

tion

APPLICATION FOR ADMISSION

Youmayalsodownloadanapplicationformfromwww.cjc.edu.

Pleasesubmitthecompletedformalongwitha$100applicationfeeto:

California Jazz Conservatory, Office of Admission

2087 Addison Street, Berkeley, CA 94704

fax: 510.841.5373 e-mail: info@cjc.edu

APPLYINGFOR: FALL20 SPRING20

Personal Information

FIRSTNAME MIDDLENAME LASTNAME DATE

Name,ifdifferentfromaboveonotheracademicrecords:

FIRSTNAME MIDDLENAME LASTNAME

()– ()–

E-MAILADDRESS HOMEPHONE CELLPHONE

/ / – –

BIRTHDATE(MM/DD/YYYY) SOCIALSECURITYNUMBER

Instrument Voice

LISTINSTRUMENT(S)PLAYEDANDYEARSSTUDIED/PERFORMED YEARSSTUDIED/PERFORMED

Permanent Address:

ADDRESS CITY STATE ZIP

Current Mailing Address:

ADDRESS CITY STATE ZIP

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Educational History

PleaselistallschoolsandcollegesyouhaveattendedorwillattendbeforeenrollingintheCJC.

SCHOOL LOCATION DATESATTENDED DEGREE/DIPLOMA

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

Resume

Pleasedescribeyourachievements,awards,extracurricularactivitiesandotherinterests.

ACHIEVEMENTS

1.

2.

3.

4.

5.

AWARDS TITLE DATE DESCRIPTION

1.

2.

3.

4.

EXTRACURRICULARACTIVITIES DESCRIPTION DATES

1.

2.

3.

4.

OTHERINTERESTS

Personal Statement

Tellusaboutyourself,yourmusic,futureaspirationsandobjectivesinpursuingaBachelorofMusic

degreeinJazzStudiesattheCJC.Pleasesubmitapproximately1,000wordsinTimesNewRoman,

12-pointfont.(pleaseattach)

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UC

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UNIVERSITY AVE

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SC

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OL

ADDISON STREET

CENTER STREET

ALLSTON WAY

KITTRIDGE STREET

BANCROFT WAY

CJC

Driving Directions

From San Francisco:

TaketheBayBridgeto1-80EasttowardsBerke-

ley/Sacramento.TaketheUniversityAvenue

exit.Goeast(towardsthehills)2milestoShat-

tuckAvenue.TurnrightonShattuckAvenueto

AddisonStreet.TurnrightonAddisonStreet.

The CJC is immediately on your right.

From East of Berkeley:

FromHighway24,taketheBerkeleyexit:High-

way13/TunnelRoad/AshbyAvenue.Drivewest

onAshbyfor2–3miles.TurnrightonShattuck

Avenue.DrivenorthtoAddisonStreetandturn

left. The CJC is immediately on your right.

From the South Bay:

Take880NorthtoI-80East/Sacramentotowards

Berkeley.TaketheUniversityAvenueexit.

Goeast(towardsthehills)2milestoShattuck

Avenue.TurnrightonShattuckAvenueto

AddisonStreet.TurnrightonAddisonStreet.

The CJC is immediately on your right.

Bay Area Rapid Transit — BART

TheCJCislocatedlessthenablockfromthe

DowntownBerkeleyBARTstation.Pleasevisit

www.BART.gov for specifi c train information.

TheDowntownBerkeleyBARTStationislocated

indowntownBerkeleyonShattuckAvenue

betweenCenterStreetandAllstonWay.BART

servesSanFrancisco/Colma,SFO/Milbrae,

Fremont,Richmond,Dublin/Pleasanton,and

Pittsburg/BayPoint.

AC Transit

TherearenineteenACTransitbuslinesthat

servicethedowntownBerkeleyarea.Allbuses

arewheelchairaccessibleandcantransport

bicycles.Pleasevisit511,www.actransit.org for

specifi c train information.

Bus lines:F,FS,800,1Lx,52L,1R,51S,

7, 9, 15, 18, 19, 51, 65, 67, 79, 604, 605, 851.

CALIFORNIA JAZZ CONSERVATORY 2087 Addison Street • Berkeley, California 94704510.845.5373 • www.cjc.edu

The William E. Robinson

Foundation

2087AddisonStreetBerkeleyCA94704510845-5373phone510841-5373faxemail:info@cjc.eduwww.cjc.edu

Globally recognized as America’s music, originating in the great city of New Orleans just a century

ago through the African American experience, today jazz is performed and listened to by people of all

ethnicities, backgrounds, ages and creeds. Indeed, jazz is considered by many to be America’s greatest

artistic gift to the world. The understanding and appreciation of jazz is integral to understanding and

appreciating American history and culture. It’s an outstanding artistic model of individual expression

and democratic expression, as well. And there’s probably no better example of democracy than a jazz

ensemble: individual freedom, but with responsibility to the group. It’s essential that we preserve,

develop and expand this treasured art form for our future generations by recognizing and elevating

the importance of our jazz education programs in every single school across America.”

FirstLadyMichelleObamaattheWhiteHouseMusicSeries,“The Jazz Studio,” on June 15, 2009

“

Those who descend a short fl ight of stairs to the school’s basement digs in the former Kress “dime store”

fi nd a warren of soundproofed classrooms, students of all ages and a jazz education program that has

put the Jazzschool on the map as one of the most vital centers of jazz education in the West.”

David Wiegand, SF Chronicle DatebookOctober10,2010

“

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