For complete information as to courses offered in the current year, students should consult the schedule of course offerings available each semester in the Registrar’s Office. Courses numbered 100 through 499 are undergraduate level; courses numbered 500 through 999 are graduate level. Course numbers preceded by a “»” are typically offered each academic year. Course numbers followed by a “T” are taught to mixed classes of undergraduates and graduates. Undergraduate students may register for graduate-level courses with the instructor’s permission.
JAZZ
»JS 221 – Improvisation for Non-Majors
An introduction to basic improvisational techniques and aural skills used in jazz improvisation. The first semester focuses on modal improvisation; harmonic progressions are introduced in the second semester. Emphasis on vocal/instrumental connection, notational skills, and “non-classical” interpretation. (2 credits) Coleman
»JS 223 – World Music Rhythms for Non-Majors
A world music workshop for instrumentalists and vocalists that focuses on the students’ ability to internalize and comprehend a range of rhythms. The teaching emphasizes speaking rhythm and then performing the lessons on the frame drum. Course materials are based upon a contemporary application of old-world teaching methods from North Africa, the Mideast, and South India. The rhythms are polyrhythmic and cyclical in nature. The playing techniques implemented are basic hand and finger techniques adapted from South Indian drumming and can be applied to a variety of percussion instruments. (2 credits) Leake
»JS 263 – Introduction to Jazz Improvisation and Ear Training
An introduction to basic improvisational techniques and aural skills for jazz studies majors. The first semester focuses on modal improvisation; harmonic progressions are introduced in the second semester. Emphasis on vocal/instrumental connection, keyboard, and notational skills. (2 credits) Netsky
»JS 264 – Introduction to Jazz Improvisation and Ear Training
Continuation of JS 263. Prerequisite: JS 263. (2 credits) Netsky
»JS 368 – Jazz Repertoire
Advanced study, memorization, and performance of standard jazz repertoire. Prerequisite: JS 264 or placement exam.
(2 credits) McNeil
»JS 378 – Jazz Theory
Study and aural recognition of jazz vocabulary, including chord progressions, tune and solo construction, and appropriate use of all chord/scale types. Instructor’s permission required for non-majors. Prerequisite: CI 283T, JS 483T, or placement exam.
(2 credits) McNeil
»JS 425T – Development of Rhythmic Skills
Study of rhythm and the functions of laws governing it. Analysis of rhythm patterns and cycles, and studies to develop the ability to play them. Students are expected to become proficient in playing studies and identifying rhythms from dictation and other sources. (1 credit) Leake
JS 448T – Jazz Vocal Traditions
Explores the history of jazz singing from its roots in early African-American music through Louis Armstrong to contemporary jazz singers. From the mainstream to the avant-garde, important individual contributions as well as larger trends will be examined. The mutual influences of the vocal and instrumental traditions on one another, and the influence of jazz singing on other styles such as pop and Brazilian music will be considered. Classes and coursework include reading, listening, lectures, videos, and guest lecturers. (2 credits) Eade
»JS 455T – Lydian Chromatic Concepts
Introduction to the theoretical concepts formulated by George Russell. Analysis of jazz and non-jazz compositions. Prerequisite: JS 378. (2 credits) Schwendener
JS 456T – Lydian Chromatic Concepts
Continuation of JS 455T. Prerequisite: JS 455T. (2 credits) Schwendener
»JS 473 – Jazz Composition and Arranging I
Fundamental topics in jazz composition and arranging are introduced through the analysis and imitation of models drawn from the jazz repertory. Topics include jazz harmony, reharmonization, voicing, writing for rhythm section, and writing for two and three horns. Prerequisite: JS 378. (2 credits) Schaphorst
»JS 474 – Jazz Composition and Arranging II
After studying each of the sections of the ensemble independently, an arrangement for jazz orchestra is developed through the analysis of works from the jazz repertory. Topics include form, counterpoint, and recomposition, encompassing both traditional and innovative approaches to writing for the jazz orchestra. Continuation of JS 473T. Prerequisite: JS 473T.
(2 credits) Schaphorst
»JS 479T – Jazz Styles: Improvisation
Selected topics in the history of jazz improvisation are studied through listening, transcription, and analysis of improvised solos and accompaniments, and composition of solos in the styles of such past jazz artists as Louis Armstrong, Sidney Bechet, Coleman Hawkins, Lester Young, Charlie Parker, Miles Davis, John Coltrane, and a number of more recent figures. Prerequisite: JS 378. (2 credits) Chase
JS 480T – Jazz Styles: Composition
Study of the styles of selected composers through listening, transcription, and analysis of jazz compositions, and composition of pieces in the style of historic composers including Don Redman, Duke Ellington, Billy Strayhorn, Thelonious Monk, Lennie Tristano, Horace Silver, Sun Ra, Ornette Coleman, John Coltrane, and Wayne Shorter. Prerequisite: JS 378. (2 credits) Chase
JS 481T – Jazz Styles: Free Jazz and the Avant-Garde
Studies the work of improvisers and composers working in “free jazz” and the avant-garde styles of 1958 to the present through listening, transcription, analysis and composition. Prerequisite: JS 378. (2 credits) Chase
»JS 483T – Jazz Ear Training
Study of direction, function, and purpose of melodic line. Identification of tensions in chord changes and construction of melodies involving these tensions. Examination of the use of upper structure triads in improvisation and sightsinging; transcription of solos from records. Prerequisite: JS 264 or by placement exam. (2 credits) Faculty
»JS 487T – Seminar in Performance
Focuses on developing and expanding students’ artistic sensibility through performance and discussion. Integrates advanced aural, theoretical, compositional and performance skills into individual aesthetics. Provides insights into concert preparation, career strategies, and development of repertoire. (2 credits) Faculty
»JS 057 – Graduate Jazz Theory and Ear Training
Prepares students for more advanced graduate work in jazz courses through instruction and practice in jazz ear training and a review of jazz melodic, harmonic, and formal practice and analysis. Class meetings will include weekly ear training practice (singing and dictation), presentation of theory concepts in short lectures, listening, analysis, and discussion. Homework will include ear training practice, including transcription, and analysis projects. Required of graduate students majoring in Jazz Performance and Jazz Composition in their first semester if their Jazz Theory and Ear Training test results show a need for remedial work. Recommended for graduate jazz students who do not have a Bachelor of Music degree in jazz. Open to other graduate students as an elective. (0 credits) Carlberg
»JS 525T – Development of Rhythmic Skills
Study of rhythm and the functions of laws governing it. Analysis of rhythm patterns and cycles, and studies to develop the ability to play them. Students are expected to become proficient in playing studies and identifying rhythms from dictation and other sources. Graduate offering of IMPRV 425T. (1 credit) Leake
»JS 526 – Jazz Composition for Performers
Introduces the basic techniques of jazz composition to jazz performers through guided composition assignments, listening and analysis. Includes tonal composition in standard song forms, writing for small jazz ensembles, and exploration of newer forms in jazz. Open to non-Jazz Studies majors by permission of the instructor. (2 credits) Carlberg
JS 528 – Intervallic Improvisation
Explores the use of interval sets, cells, and motives in melodic improvisation through performance, ear training, and composition assignments. (2 credits) Bergonzi
JS 529 – Melodic Rhythms in Jazz Improvisation
Focuses on the awareness and development of rhythms in creating a jazz language. For much of one’s studies the focus is on which notes to play; this course takes a different perspective by examining which rhythms one can use to organize those notes. The concepts of swing, metric modulation, and polyrhythms are also included in this course. (2 credits) Bergonzi
JS 548T – Jazz Vocal Traditions
Explores the history of jazz singing from its roots in early African-American music through Louis Armstrong to contemporary jazz singers. From the mainstream to the avant-garde, important individual contributions as well as larger trends will be examined. The mutual influences of the vocal and instrumental traditions on one another, and the influence of jazz singing on other styles such as pop and Brazilian music will be considered. Classes and coursework include reading, listening, lectures, videos, and guest lecturers. (2 credits) Eade
»JS 555T – Lydian Chromatic Concepts
Introduction to the theoretical concepts formulated by George Russell. Analysis of jazz and non-jazz compositions.
(2 credits) Schwendener
JS 556T – Lydian Chromatic Concepts
Continuation of JS 555T. Prerequisite: either JS 555T or JS 577. (2 credits) Schwendener
JS 567 – Graduate Improvisation Seminar
Rhythmic, melodic, harmonic, and sonic aspects of improvisation are examined through discussion, listening, and in-class performance. Structured improvisation and composition assignments explore specific musical parameters with the aim of expanding students’ knowledge of creative and expressive possibilities. (2 credits) Bergonzi
JS 568 – Graduate Improvisation Seminar
Continuation of JS 567. Prerequisite: JS 567 or permission of instructor. (2 credits) Bergonzi
»JS 570 – Topics in Jazz Theory and Analysis: The Music of Duke Ellington and Gil Evans
A study of two masters of jazz composition through reading, listening, score study and analysis. (2 credits) Schaphorst
»JS 573 – Advanced Jazz Composition and Arranging I
Advanced topics in jazz composition and arranging are introduced through the analysis and imitation of models drawn from the jazz repertory. Topics include ostinato, advanced counterpoint, intervallic and 12-tone techniques, alternate notational approaches and an introduction to Brazilian and Afro-Cuban music. (2 credits) Schaphorst
»JS 574 – Advanced Jazz Composition and Arranging II
Innovative larger works for jazz ensembles are studied, including writing for woodwinds, French horn, tuba, voice, percussion and strings. Assignments include writing for a variety of non-traditional jazz instrumental and vocal ensembles, with an emphasis on building large forms out of basic melodic, harmonic and rhythmic material. Continuation of JS 573. Prerequisite: JS 573. (2 credits) Schaphorst
»JS 579T – Jazz Styles: Improvisation
Selected topics in the history of jazz improvisation are studied through listening, transcription, analysis of improvised solos and accompaniments, and composition of solos in the styles of such past jazz artists as Louis Armstrong, Sidney Bechet, Coleman Hawkins, Lester Young, Charlie Parker, Miles Davis, John Coltrane, and a number of more recent figures. (2 credits) Chase
JS 580T – Jazz Styles: Composition
Studies selected composers’ styles through listening, transcription and analysis of jazz compositions, and composition of pieces in the style of such historic composers as Jelly Roll Morton, Don Redman, Duke Ellington, Billy Strayhorn, Thelonious Monk, Lennie Tristano, Horace Silver, Sun Ra, Ornette Coleman, John Coltrane, and Wayne Shorter. (2 credits) Chase
JS 581T – Jazz Styles: Free Jazz and the Avant-Garde
Studies the work of improvisers and composers working in “free jazz” and the avant-garde styles of 1958 to the present through listening, transcription, analysis and composition. (2 credits) Chase
»JS 583T – Jazz Ear Training
Studies the direction, function, and purpose of melodic line. Identification of tensions in chord changes and construction of melodies involving these tensions. The use of upper structure triads in improvisation and sight-singing; transcription of solos from records. (2 credits) Faculty
»JS 587T – Seminar in Performance
Focuses on developing and expanding students’ artistic sensibility through performance and discussion. Integrates advanced aural, theoretical, compositional and performance skills into individual aesthetics. Provides insights into concert preparation, career strategies, and development of repertoire. (2 credits) Faculty
2010-08-16
DIZZY GILLESPIE