44 courses with the subject JC, each shown exactly as we captured it from the college's catalog, with every element we hold. Where the wording looks broken, that is our reading of the catalog, not the college's text.
JC 0001Harmony for Jazz Majors1
2 hrs weekly/2 credits/Fall semester This course covers the fundamentals of harmony from the common practice era as they relate to the music of jazz. It explains the origins and development of harmonic principles and shows the ways in which these principles are in current usage in jazz. Topics include notation, melodic organization, chord functions in major and minor keys, voice leading, figured bass, chorale studies, etc. 128 C ourse De scrip tions 1. Describe why the selected topic is necessary and valuable to their major course of study. 2. Provide a full description of the topic and the goals to be achieved through the requested study. 3. In cooperation with the instructor, provide an estimate of the total hours of study required for the course in addition to the required five (5) contact hours with the instructor. The instructor must: 1. State the means by which the student’s acquired knowledge and/or skill will be evaluated. Papers, exams, evaluations, or another deliverable format used to measure the student’s success must be on file at the Registrar’s Office before credit can be approved for this Study. 2. Approve the proposal form which indicates a willingness to work with the student in the proposed study and support the student’s proposal.
2 hrs weekly/2 credits/Spring semester This course is a continuation of HJM 1. Topics include resolutions of the dominant, secondary dominants, leading tone diminished chords, modulation, harmonization systems for tonal melodies, binary and ternary forms, composition projects, etc.
for Jazz Majors 3 2 hrs weekly/2 credits/Fall semester This course covers the advancement of harmony and counterpoint from the common practice era into the early 20th century as they relate to the music of jazz. It explains the origins and development of fundamental harmonic and contrapuntal principles and shows the ways in which these principles are in current usage in jazz. Topics include classical and jazz viewpoints of counterpoint in two voices,
for Jazz Majors 4 2 hrs weekly/2 credits/Spring semester This course is a continuation of HCJM 3. Topics include altered dominants, chord superimposition, chromatic mediants, Romantic period tools and jazz applications, impressionistic period tools and jazz applications, polytonality, form and development in large ensemble jazz forms, serial techniques, composition projects, etc.
2 hrs weekly/2 credits/Fall semester The semester covers the early origins of jazz, stressing its profile as an integral part of American history. Connections with the social, musical, and racial realities of the 20th century are highlighted. An in-depth examination of what made New Orleans the birthplace of jazz with an emphasis on its identity as a French colony. This leads into the emergence of Buddy Bolden, Jelly Roll Morton, and King Oliver, all placing the innovations of Louis Armstrong in the proper context.
2 hrs weekly/2 credits/Spring semester The semester covers a comprehensive study of the swing era. Connections with the social, musical, and racial realities of the 20th century are highlighted. An in-depth examination of what made Harlem, and Kansas City, vital to the music of this time period. This helps place the innovations of Duke Ellington and Count Basie in the proper context.
2 hrs weekly/2 credits/Fall semester The semester covers a thorough study of jazz leading into the modern era. Beginning with transitional soloists such as Coleman Hawkins, Lester Young, Art Tatum. This leads into the an in-depth examination of the innovations of Charlie Parker and Dizzy Gillespie. Finally, the class explores the emergence of Miles Davis, Lennie Tristano, Lee Konitz, among others, all placing the innovations of Parker and Gillespie in the proper context.
2 hrs weekly/2 credits/Spring semester The semester deals with the varied reactions to Miles Davis and the musicians that he encouraged (Coltrane, Evans, Shorter, among others). Also, individuals such as Ornette Coleman, Eric Dolphy, Cecil Taylor, John McLaughlin, and others are explored, with the focus on tying their innovations into what is contemporary in jazz. Connections with the social, musical, and racial realities of the 20th, and into the 21st century are highlighted. JC0511-0512 Arrangi
the Americas I 2 hrs weekly/2 cred 2 hrs weekly/2 credits/Fall semester This performance-based course explores the diverse musical and rhythmic genres of the African Diaspora from Latin America and the Caribbean. Using multiple resources, including guest artists, to introduce aspects of the music and rhythms from these regions to provide a musical foundation to bridge knowledge and experience for a more authentic performance experience. Classes are structured to include new material, i.e. cultural music and rhythmic concepts, followed by in-class ensemble work and composition to apply the new material. Topics will include historical elements of the music, traditional forms of melody and rhythm, meaning and understanding, stylistic approaches, rhythmic analysis, stylistic elements through dance and cultural perspectives within the genres. The course concludes with an in-class performance of a selected work or student composition that demonstrates authentic interpretation.
the Americas II 2 hrs weekly/2 credits/Spring semester Semester II focuses on the African Diaspora in Central America and South America. Continuation of MH0105.
2 hrs weekly/2 credits per semester This course offers the undergraduate student basic techniques needed to improve aural perceptions in both the translation of hearing into writing and the performance of reading into singing and playing in the jazz idiom. Introduction and practice of singing and aural recognition of short, simple melodies and intervals based upon diatonic harmony. and notate simple melodies determined by placement examination. Replace with multiple course descriptions:
2 hrs weekly/2 credits/Fall semester In Jazz Piano Styles we will survey, discuss, listen, analyze, and perform music of important jazz pianists. The fall semester course will cover ragtime into the bebop era. Class performance is also encouraged to help build solo piano style development. Students will listen, analyze, and perform music of important jazz pianists from all eras of jazz. Students will study important musical features of jazz piano styles and techniques. Students C ourse De scrip tions 131
2 hrs weekly/2 credits/Spring semester In Jazz Piano Styles we will survey, discuss, listen, analyze, and perform music of important jazz pianists. The spring semester will cover styles from the 1950’s to the present. Class performance is also encouraged to help build solo piano style development. Students will listen, analyze, and perform music of important jazz pianists from all eras of jazz. Students will study important musical features of jazz piano styles and techniques. Students will learn and deepen their knowledge of jazz harmony, rhythm, melody, and improvisation, through a diversity of pianistic approaches and styles. Required for undergraduate jazz piano majors.
1 hr weekly/1 credit/Fall semester This is an introductory course for beginners and those with limited experience at the piano. The course is centered around group instruction. Foundational keyboard skills are developed including playing major scales, triads and seventh chords. Students will sightread and learn repertoire from Bartok’s Mikrokosmos Vol. 1. Jazz piano techniques will include voice leading 7th chords, rootless voicings, major key ii V I’s with diatonic improvisation, accompanying and improvising on the 12-bar blues, and interpreting standard tune “lead sheets.” A mid-term and final performance exam is required. examination
1 hr weekly/1 credit/Spring semester This is the second semester course in a 4-semester sequence for undergraduate students focused on developing jazz keyboard harmony skills and foundational piano comprehension. The course is centered around group instruction. Foundational keyboard skills are continued to be developed including playing major and minor scales, modes and open-position seventh chords. The harmonic language is expanded to include creating and voice leading chords with extensions and alterations. Students will learn selections from Barok’s Mikrokosmos Vol. 1 and pieces by Mozart and Bach. Jazz piano techniques include continued work with ii V I’s, rootless voicings with extensions, ‘comping with 2-handed voicings, and accompanying and improvising on standard tunes and the blues. Solo piano arranging techniques are also explored. A midterm and final performance exam is required.
1 hr weekly/1 credit/Fall semester This is the third semester course in a 4-semester sequence for undergraduate students focused on developing jazz keyboard harmony skills and foundational piano comprehension. The course is centered around group instruction. More complex harmonic structures are explored with open position scale-tone voicings and Form A/B rootless voicings. Students gain skill in improvising and accompanying with Major key ii V I rootless voicings with extensions and alterations—and ‘comping and “voicing” standard tunes. Sight reading and learning intermediate-level classical pieces and/ or jazz arrangements is continued. More advanced arranging techniques are explored. A midterm and final performance exam is required. C ourse De scrip tions 129
1 hr weekly/1 credit/Spring semester This is the fourth semester in a 4-semester sequence for undergraduate students focused on developing jazz keyboard harmony skills and foundational piano comprehension. The course is centered around group instruction. The course is centered around group instruction. More complex harmonic structures are continued to be explored including “drop 2” voicings, improvising and accompanying with Form A/B vociings in minor keys, open position 2-handed ‘comping and scale-tone chords with extensions and alterations. In-depth approaches to playing the Blues and “Rhythm” changes are presented and students create their own piano arrangements of jazz standards. A mid-term and final performance exam is required.
Piano 1 1 hr weekly/1 credit/Fall semester This is an introductory course for graduate students with limited experience at the piano. The course is centered around group instruction. It begins with a thorough review of foundational keyboard skills including major scales, seventh chords, diatonic improvisation and voice leading. Students practice improvising and accompanying on standard tunes and the blues—and on the ii V I progression in all 12 major keys. Skill is developed in sightreading and learning classical pieces. More complex jazz piano techniques are introduced including playing rootless voicings with extensions/alterations, open position scale-tone chords, ‘comping with 2-handed voicings, and creatively interpreting/arranging standard tunes. A midterm and final performance exam is required. placement exam 130 C ourse De scrip tions
Piano 2 1 hr weekly/1 credit/Spring semester This is the 2nd semester course in a 2-semester sequence for graduate students for developing jazz keyboard harmony skills and foundational piano comprehension. The course is centered around group instruction. Complex harmonic structures are studied including scale-tone chords with extensions/alterations, “drop 2” voicings and rootless Form A/B voicings in all major and minor keys. Open position 2-handed ‘comping and in-depth approaches to playing the blues and “Rhythm” changes are explored. Students create their own solo piano arrangements of jazz standards and practice improvising and accompanying on common progressions, tunes and the blues. A midterm and final exam performance is required. Piano 1
2 hrs weekly/2 credits per semester The course objectives will be to develop fluency in the performing/reading/feeling/ identifying/transcribing and notation of rhythms. Jazz and classical methods of rhythmic interpretation will be discussed. As this is an undergraduate course the focus will be on the most common time signatures and divisions of the beat. (Required for all undergraduate jazz performance and composition majors.) ng and its per semester A development of writing skills for various media and combinations, including dance, show and jazz music. Students explore the latest techniques in electronics, serial and experimental techniques.
2 hrs weekly/3 credits/Fall semester This course is designed to introduce and examine Brazilian music from both academic and performance perspectives. Through readings of articles and textbooks, video excerpts and documentaries, field recordings and live demonstration, students are led to observe the connections between historical facts and the formation of each style in Brazilian music, in a journey through almost 500 years of history/music making. As the students are first and foremost performers, a primary focus of the course is the incorporation of the Brazilian music universe of rhythms, phrasing, and repertoire into their developing styles. The aim is to produce a performer who is well informed not only about musical components and necessary skills for performance, but also about the history and context in which Brazilian music developed. Cross-listed with MH1400.
3 hrs weekly/3 credits/Spring semester As a follow up to the almost 500 years of Brazilian music and culture that is surveyed in part one of this course, Brazilian Music History 2 will focus on the work and lives of 12 major figures of Brazilian music in the 20th century and today's scene. Through detailed analysis of their pieces and contributions to the Brazilian music repertoire, this course will focus in on the master works of some of the most brilliant Brazilian musicians to date.
3 hrs weekly/3 credits/Spring semester Popular Songs from Film is a Jazz History and Harmony Analysis course based on the evolution and significance of America’s most recognized jazz standards originating from film scores during the Golden Age of Hollywood. Unlike classic Broadway shows, whose original cast productions from the 1920s, 30s, and 40s can only be read about or experienced in photos and rare modern reproductions, films are permanent documentations of the original visual and audio productions of these songs against the stories they were meant to enhance. We study a song using the film as a unique reference, even a literal glimpse, of the time and social climate it was written for. Songs like “Stella By Starlight,” “There Will Never Be Another You,” or Academy Award winning songs, “It Might as Well Be Spring,” and “Days of Wine And Roses,” have been taught to students for decades, but rarely with any historical background on their rise to prominence. This course discusses the process of these classic hit songs from conception. It shows how Hollywood and music publishing giants along with popular big bands, record companies, radio stations, and dance halls across the country depended on one another to create an American image and sound, sell sheet music, records, and boost the morale of a country at war. We discuss the Hollywood Movie Stars, particularly the iconic actresses who played the roles C ourse De scrip tions 133
and Digital Synthesis 2 hrs weekly/2 credits/Fall semester Basics of analog and digital synthesis and sound designing, with emphasis on the practical application of the synthesizer to contemporary jazz and commercial music. Applications of basic principles to abstract “Classical” sound design. Continuation of MIDI sequencing and studio techniques. Independent lab time is provided for hands-on work in sound designing and patch editing. Exposure to current popular synthesizers and software.
Advanced Studio Recording - Scoring to Picture 2 hrs weekly/2 credits/Spring semester Advanced application of MIDI sequencing and digital audio recording techniques. Introduction to sampling technology, additional MIDI sound sources, and advanced synthesis techniques. Emphasis on scoring techniques for film, TV, and multimedia, as well as combining acoustic and electronic instruments. Independent lab time is provided for hands-on work in MIDI composition, digital audio recording, and scoring to picture.
1 hr weekly/1 credit per semester The course provides a framework to discuss perspectives on the compositional process. We will analyze scores, listen to recorded works, and exchange ideas. Students will have the opportunity to present their analysis of selected composers, and share their own compositional work with the class. Each member of the class will present a Final Project at the end of the semester. JC2241-JC2242 Jazz Composing and Arranging for Studio Orchestra 2 hrs weekly/2 credits per semester A development of writing skills aimed primarily for orchestra. Will include the combination of big band plus either chamber orchestra, symphony orchestra or writing works for jazz soloist and chamber or symphony orchestras. Will include listening and discussion of the different approaches, plus in-depth analysis of the student's own work.
2 hrs weekly/2 credits/Fall semester In Jazz Piano Styles we will survey, discuss, listen, analyze, and perform music of important jazz pianists. The fall semester course will cover ragtime into the bebop era. Class performance is also encouraged to help build solo piano style development. Students will listen, analyze, and perform music of important jazz pianists from all eras of jazz. Students will study important musical features of jazz piano styles and techniques. Students will learn and deepen their knowledge of jazz harmony, rhythm, melody, and improvisation, through a diversity of pianistic approaches and styles.
2 hrs weekly/2 credits/Spring semester In Jazz Piano Styles we will survey, discuss, listen, analyze, and perform music of important jazz pianists. The spring semester will cover styles from the 1950’s to the present. Class performance is also encouraged to help build solo piano style development. Students will listen, analyze, and perform music of important jazz pianists from all eras of jazz. Students will study important musical features of jazz piano styles and techniques. Students will learn and deepen their knowledge of jazz harmony, rhythm, melody, and improvisation, through a diversity of pianistic approaches and styles.
Jazz Majors 1 2 hrs weekly/2 credits/Fall semester A course designed to provide the non-Jazz major with fundamental concepts needed to compose spontaneously. Blues and basic jazz forms are covered through performance and recordings.
Jazz Majors 2 2 hrs weekly/2 credits/Spring semester A continuation of Jazz Improvisation for Non-Jazz Majors 1. Understanding and application of theory and concepts of jazz improvisation. Topics include: interpreting a “lead sheet”; chord/scale relationships; exploration of various approaches to melodic improvisation: creation of chords with extensions and alterations; voice leading of chords in common progressions, songs, and the blues; improvising on standard tunes and the blues; creating simple effective accompaniments; development of a relaxed “swing” rhythmic “feel”; creation of original jazz arrangements. Jazz Majors 1
2 hrs weekly/2 credits/Spring semester This course is designed to develop skills in the teaching of jazz music. The student will be exposed to a variety of materials, techniques, and philosophies. The course focuses on program development for and performance in MSM's elementary and middle school jazz education series. Included are the study of ensemble and rehearsal techniques and other factors pertinent to operating a jazz/ commercial music program.
2 hrs weekly/2 credits/Fall semester This course prepares artist teachers to function at a high level in the world of jazz education. Included are discussions of the pedagogy of the applied studio as well as common classroom areas for jazz education including jazz improvisation, jazz arranging and composition, jazz history, and theoretical and aural skills. Also included are observational visits to area jazz programs, as well as an overview of the job market and techniques to use in applying for positions within jazz education. JC2501-JC2503 Masters of Jazz Seminar: A Chromatic Approach to Jazz Melody and Harmony 2 hrs weekly/2 credits per semester In this course, the student will study theoretical and practical concepts, which allow for various ways to conceptualize chromatic usage. There will be in-depth historic analysis of chromatic examples from the classical and jazz repertoire; study of reharmonized standards and original compositions; composing chromatic voicings, lines, and tunes. The goal of the course is to expose the student to a variety of chromatic music in order to increase the student's aural skills and critical understanding of the use of chromaticism in modern music. *JC2501-2502 are required for graduates,
3 hrs weekly/3 credits/Fall semester This class will focus on the musical theatre song, a structure invented at the turn of the 20th century to support the burgeoning artform of musical drama. While we will go into some detail about the history of the form—such as how it is one of the U.S.A.’s only cultural inventions, mostly created by oppressed groups like Jewish and Black people—the bulk of this course will be invested in a study the art of C ourse De scrip tions 135
to Rhythm 2 hrs weekly/2 credits/Fall semester Develop a deeper concept of rhythm as a musical element, moving beyond arithmetic and counting to something that is more melodic and intuitive. The focus of this system is Counterpoint instead of vertical relationships, combining independent rhythmic parts in a way that emphasizes their independence: as voices, happening simultaneously.
