Generally, students are awarded one credit for each hour of class time.
Exceptions are made for studio, ensemble, and a small number of classes.
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. Courses followed by a “*” are repeatable for credit.
Courses followed by a “**” are repeatable for credit if the topic has changed
(permission from Academic Advisor required).

JAZZ

Undergraduate Curriculum

»JS 131 – Jazz Keyboard Skills
Introduces jazz majors to jazz harmony and theory at the keyboard. Topics include voicing, comping and reharmonization. (1 credit) Carlberg  

»JS 132 – Jazz Keyboard Skills II
Continuation of JS 131. Prerequisite: JS 131 or instructor’s permission. (1 credit) Carlberg  

»JS 221T – 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.
(1 credit) Levy  

»JS 222T – Improvisation for Non-Majors II
Continuation of JS 221T. Prerequisite: JS 221T. (1 credit) Levy  

»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: JS 368 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) Levy  

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) Schaphorst  

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) 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) Bergonzi  

»JS 488T – Seminar in Performance
See course description for JS 487T. (2 credits) Blake 

Graduate Curriculum

»JS 511 – Graduate Jazz Theory and Ear Training
Required for all Masters Jazz Composition and Jazz Performance students. Instruction and practice in jazz ear training and a review of jazz melodic, harmonic, and formal practice and analysis. Class meetings include weekly ear training practice (singing and dictation), presentation of theory concepts in short lectures, listening, analysis, and discussion. Homework includes ear training practice, including transcription, and analysis projects. Open to non-jazz graduate students by instructor permission. (2 credits) Carlberg  

»JS 521T – Improvisation for Non-Majors
Graduate offering of JS 221T. (1 credit) Levy  

»JS 522T – Improvisation for Non-Majors II
Continuation of JS 521T. Prerequisite: JS 521T. (1 credit) Levy  

»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 532 – Hexatonics
Hexatonics presents a practical method for the application of six-note scales based on mutually exclusive triad pairs. Each week a new triad pair will be studied in all 12 transpositions, with attention paid to both linear and harmonic implications. Students will learn how to apply each hexatonic scale through compositional and improvisational exercises. (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
A study of various masters of jazz composition through reading, listening, score study and analysis.
(2 credits**) Faculty  

JS 570A – Topics in Jazz Analysis: Gil Evans and Duke Ellington
A study of two masters of jazz composition through reading, listening, score study and analysis.
(2 credits) Schaphorst  

JS 570B – Topics in Jazz Theory and Analysis: The Music of McCoy Tyner and Chick Corea
This course explores the music of two pianist/composers, McCoy Tyner and Chick Corea, through listening, transcription, and analysis of their improvisations and compositions. The course also traces the stylistic evolution of Tyner and Corea throughout their careers as sidemen and leaders. (2 credits) Shim  

JS 570C – Topics in Jazz Theory and Analysis: The Music of Thelonious Monk
This course addresses the music of Thelonious Monk in all of its manifestations, including both his improvisations and compositions. Through reading, listening and transcription, Monk’s music will be analyzed from a variety of analytic and theoretical perspectives. (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) Levy  

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) Schaphorst  

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) 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) Bergonzi   

»JS 588T – Seminar in Performance
Graduate offering of JS 488T. (2 credits) Blake 

2013-08-19


I REMAIN TRUE TO MY STARTING PRINCIPLE. TO WRITE SOLELY AS I MYSELF THINK BEST. FELIX MENDELSSOHN