2087 Addison Street Berkeley, CA 94704 510.845.5373 [email protected]CALIFORNIA JAZZ CONSERVATORY SCHEDULE OF CLASSES Fall SEMESTER 2018 August 20 - December 14 Fall Semester 2018 Spring Semester 2019 June 1 - F18 Enrollment deposit due Jul 30 - Aug 3 Registration for FA18 Aug 20 First day of FA18 instruction Sept 2 Last day to add or drop a class Sept 3 Academic & admin holiday Nov 19 – 25 Academic & admin holiday Nov 30 S19 Enrollment deposit due Dec 9 Last day of FA18 instruction Dec 10 – 14 Final examinations & juries Dec 15 - Jan 14 Winter recess Dec 1 (2018) SP19 Enrollment deposit due Jan 2 – 5 Registration for Spring Jan 22 First day of Spring instruction Feb 5 Last day to add or drop a class Feb 18 Academic & admin holiday Mar 25 - 31 Spring Recess May 10 Last day of Spring instruction May 13 - 17 Final examinations & Juries May 18 Commencement May 19 - Aug 19 Summer Recess June 1 F19 Enrollment deposit due *** Auditions by Appointment *** ACADEMIC CALENDAR
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Berkeley, CA 94704 510.845.5373 Fall SEMESTER 2018 · 2018-11-17 · 2087 Addison Street Berkeley, CA 94704 510.845.5373 [email protected] CALIFORNIA JAZZ CONSERVATORY SCHEDULE OF
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Full-Time (12 credits per semester and above): $9,500. This includes 1 credit of Private Instruction; it doesnotincludeIndividualTutorialorTrioInstruction.
Part-Time (11 credits per semester or fewer): $750 per credit. This feedoesnot includePrivate Instruction,IndividualTutorial,orTrioInstruction.
Tuitionisdueatthetimeofregistration.(SeeregistrationdateslistedintheAcademicCalendar.)Studentsregisteringaftertheregistrationperiodaresubjecttoalateregistrationfeeof$50.Studentsmusteitherhavepaidtuitionandfeesinfull,havebeenacceptedforfinancialaid,orhavecreatedanin-housesemester-longpaymentplanpriortothefirstdayof instruction toattendclasses.Studentswithoverdue tuitionmaynot register for succeedingsemesters.Seniorswith outstanding tuitionwill be prohibited from taking part in their graduation ceremony andwill not beissuedtheirtranscript. In-HousePaymentPlan—TheCJCoffersstudentstheoptionofpayingtheir tuitiononamonthlybasis fora feeof$50/semester. TheCJC In-HousePaymentPlanmust be created at the timeof registrationeach semester. For fallsemester,tuitionisdividedupintofiveequalpaymentsdueonthefirstofthemonthformonthsAugust–December;forspringsemestertuitionisdividedupintofiveequalpaymentsdueonthefirstofthemonthformonthsJanuary–May. A late fee of $25 will be charged for payments submitted after the first of eachmonth. Note: the currentsemester’s tuition must be paid in full before a student may register for the subsequent semester. To create apaymentplan,[email protected]. Studentswithanoutstandingbalancewhohavenotyetbeenacceptedforfinancialaidorcreatedapaymentplanbythe first day of instructionwill be dropped from the program. Studentswith overdue tuitionmay not register forsucceeding semesters. Seniors with outstanding tuition will be prohibited from taking part in their graduationceremonyandwillnotbeissuedtheirtranscript.TuitionattheCaliforniaJazzConservatoryissubjecttoincreasebyapproximately4%peryear.
MUS100AEarTraining&SightSinging (3credits,3hourslecture/lab) A coursedesigned to develop aural and visual perceptionof rhythmic,melodic andharmoniccomponentsofmusic.Coursematerialisjazzbased. Instr.JayLehmann MW9–10:30amTHE215ASingleLineSoloingforVocalistsI (3credits,3hourslecture) A course for vocalists (or instrumentalists who wish to participate as vocalists) focusing ondeveloping single line soloing techniques idiomatic to the bebop and post-bop traditions.Includesanalysisandperformanceofkeytranscriptionsofbebopandpost-bopmastersaswellasin-classapplicationofthefundamentaldevicesemployedinmodernjazzimprovisation. Prerequisites:MUS201andTHE100B Instr.DannZinn MW9–10:30amMUS103IntroductoryMusicTheoryandEarTraining3credits,3hourslecture/labAn introductory elective course taken on a pass/no pass basis designed to strengthenknowledge of music theory and aural skills. Successful completion of this course qualifiesstudents for enrollment inTHE100A and MUS100.Highlyrecommended for drummers andvocalists.Instr.JayLehmannMW10:45am–12:15pm THE205ASingle-LineSoloingI(3credits,3hourslecture/lab) Acoursefocusingondevelopingsinglelinesoloingtechniquesidiomatictothebebopandpost-boptraditions. Includesanalysisandperformanceofkeytranscriptionsofbebopandpost-bopmasters as well as in-class application of the fundamental devices employed in modern jazzimprovisation.Prerequisites:THE100B. Instr.DannZinn MW10:45am–12:15pm HIS390AHistoryofWesternEuropeanMusicfromAntiquityto1750 (3credits,3hourslecture) This course traces the development of Western European art music from the 10th centurythroughthemiddle18thcentury,focusingonthemusicalstylesofthemastercomposersoftheMedieval, Renaissance and Baroque periods. Emphasis on the socioeconomic and politicalconditionsthatgaverisetothem. Instr.JasonLevis MW10:45–12:15pmTHE100AJazzTheory&Improvisation (3credits,3hourslecture/lab) A course covering jazz theory and improvisation techniques and styles based on the artisticpracticeofjazzmasters,fromtheearlytwentiethcenturyinnovationsofLouisArmstrong,tothecontemporaryartistryofHerbieHancock, andbeyond. Studentsgaina solidunderstandingofjazz theory and improvisation, from the fundamentals to chord/scale theory, soloing,
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reharmonization,andtranscriptionandanalysis.Theoreticalconceptsareillustratedwithselectrecordingsof leading jazzartistsandappliedtorelevantexercisesandrepertoire inclass.Thiscourselaysimportantgroundworkcriticalinthedevelopmentofindividualstyle. Instr.JohnGove M11–2:15pm HAR390AWesternEuropeanHarmonicPracticefrom1600to1820 (3credits,3hourslecture) Focusing on compositions from the Baroque and Classical periods, this first-semester coursecoverspreparatorymaterialforthestudyofharmony,figuredbass,harmonizationofmelodies,voice leading,cadences,theoryofchordprogression,chordprogressions inthediatonicmajorandminor,chordinversions,andanintroductiontoanalysis. Instr.JasonLevis MW12:30–2pm PRF400JazzRepertoireEnsemble(GreenEnsemble) (4credits,4hourslab) Aperformanceensemblefor theadvancedstudent focusingon importantcore innovationsbypostbopluminariesincludingWayneShorter,JoeHenderson,HerbieHancock,ChickCorea,DaveLiebman, Michael Brecker among others. Students are encouraged to bring in original work.Prerequisites: rhythmic, melodic and harmonic fluency with the bop and postbop language;familiaritywithrepertoirefromtheGreatAmericanSongbook.Enrollmentbyauditiononly. Instr.DannZinn MW12:45–2:45pm;sectionalTBA HIS110TheJazzStandard:TheGreatAmericanSongbook (2credits,2hourslecture/lab) An overview of the evolution of The Great American Songbook — the canon comprisingAmericanpopularsongswrittenoriginallyformusicaltheatreandlaterfilmbetween1920and1950. Now the cornerstone of modern jazz, the repertoire of the Great American Songbookaroseduring thedecadeof the JazzAge,TheGreatDepression,WWIIandtheunprecedentedeconomicgrowththattookplacein1950sAmerica.Thissingularbodyofworkmanifestedhope,builtmorale,easedsocialbarriersandreflectedourcountry’spromiseforthefuture.Studentsexamine the lives and perform the work of the central composers of this period, includingJeromeKern, Irving Berlin,GeorgeGershwin, Cole Porter, Duke Ellington, Richard Rogers andHarold Arlen among others. Note: This course serves as a requirement for vocalists and is ahighlyrecommendedelectiveforinstrumentalists. Instr.MayeCavallaro M2:15–4:15pm PRF391ElectronicMusicEnsemble(2credits,2hourslab)Anensembleformusiciansutilizingelectronicand/orelectro-acousticinstruments.Theclasswillcover applied synthesis and signal processing techniques, collaborative electro-acousticimprovisation,scoringtechniquesforunconventionalinstruments,andutilizingsoftwareand/orhardwareinstrumentsinliveperformance.Prerequisites: Access to anyelectronicor electro-acoustic instrument(s) such as a guitar andpedal board, keyboard synthesizer,desktop ormodular synthesizer, drum machine, sampler(e.g.: Roland 404),vocal processing and looping (hardware and/or software),iPad synthesizer
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apps,anda laptopwithaDAWorother soundproducing software (e.g.:Max/MSP,PureData,SuperCollider, VCV rack, stand-alone softsynths). Questions about gear can be directedto:[email protected] M2:30–4:30pm PRF100JazzRepertoireEnsemble (2credits,3hourslab) A performance ensemble focusing on a wide range of repertoire from the Great AmericanSongbooktobebop,post-bebopand“worldmusic”genres.Instr.JohnGove M2:15-4:15pm;sectionalTBA COM300JazzComposition (3credits,3hourslecture/lab) Aconcentratedwriting courseutilizing the compositional styles and techniquesof themastercomposersasapointofdeparture increatingnewwork.Composersstudied includeEllington,Parker, Silver, Mingus, Monk, Coltrane, Hancock, Henderson, Shorter, Brecker, Liebman,Grolnick,Pastorius,Townerandmore.Melodic,harmonicandrhythmictechniquesemployedinthe music ofMozart, Beethoven, Brahms, Debussy and other relevant past masters are alsoexaminedandappliedtostudents’work. Instr.MichaelZilber MW2:45-4:15pmPRF246BrazilianJazzGuitarEnsemble (2credits,3hourslab) Brazilianjazzrepertoirearrangedfor4-8guitarists. Instr.IanFaquini M4:15–6:15pm;sectionalTBA ENG110IntroductiontoShakespeare:FromPlaystoWorks (3credits,3hourslecture) ThiscourseexaminesselectedShakespeareplaysandpoetry,includingTwelfthNight,KingLear,TheTempest,and theSonnets.Studentsdemonstrate their response toandunderstandingofthese various texts by setting a selected scene, monologue and/or poem tomusic. StudentsworkinseminarformatandattendaliveperformanceofKingLearattheCaliforniaShakespeareTheater.Note:Well-knownBayAreacomposerPaulDresherwillattendselectedclasssessionsand provide students with guidance in setting prose to music in a theatrical context.Fundamental to this course is the understanding that setting text to music requires a deepcomprehensionofthetextandhowitworks.Dr.Kellywill illuminatehowShakespeare’splaysandpoetry functioned socially in his day: like today’s jazz, Shakespeare’swork startedout aspopularentertainment,gainingthestatureof“culturalenlightenment”throughtime.Dr.Kellywill also provide a rich context for understanding the rhythm andmeaning of Shakespeare’slanguage. Instr.PhilippaKelly MW4:45-6:15pm
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HUM340BrazilianPortuguese3credits,3hourslecture/labAnintroductiontothePortugueselanguagespecifictotheBrazilianvernacular.Emphasisonthefourbasiccommunicationskills:reading,writing,speakingandlisteningwithparticularattentiongiventopronunciation.Instr.VivienMonicaGolcwajgTuTh9–11am(NOTE:Thisisalatestartclass;firstmeetingis9/4)THE200AJazzTheory&Improvisation (3credits,3hourslecture/lab) A course covering jazz theory and improvisation techniques and styles based on the artisticpracticeofjazzmasters,fromtheearlytwentiethcenturyinnovationsofLouisArmstrong,tothecontemporaryartistryofHerbieHancock, andbeyond. Studentsgaina solidunderstandingofjazz theory and improvisation, from the fundamentals to chord/scale theory, soloing,reharmonization,andtranscriptionandanalysis.Theoreticalconceptsareillustratedwithselectrecordingsof leading jazzartistsandappliedtorelevantexercisesandrepertoire inclass.Thiscourselaysimportantgroundworkcriticalinthedevelopmentofindividualstyle. Instr.JohnGove TuTh9-10:30am HAR390C20thCenturyHarmony (3credits,3hourslecture) Acourseexaminingworksbythemajorcomposersofwesternartmusicfromthebeginningofthe 20th century to today. Analysis of the theories behind various post-tonal approaches.Coursework focuses on short composition exercises utilizing the various practices studied.Emphasis on integrating these tools into students’ own work. The final project is a shortcomposition readbyaprofessionalensemble.Prerequisites:HAR390B.ConcurrentenrollmentinPRF390alsorecommended. Instr.JasonLevis TuTh9:30-11am PRF400JazzRepertoireEnsemble(BlueEnsemble) (4credits,4hourslab) Aperformanceensemblefor theadvancedstudent focusingon importantcore innovationsbypostbopluminariesincludingWayneShorter,JoeHenderson,HerbieHancock,ChickCorea,DaveLiebman, Michael Brecker among others. Students are encouraged to bring in original work.Prerequisites: rhythmic, melodic and harmonic fluency with the bop and postbop language;familiaritywithrepertoirefromtheGreatAmericanSongbook.Enrollmentbyauditiononly. Instr.JeffDenson TuTh10:30am-12:30pmPRF390ContemporaryMusicEnsemble (2credits,3hourslab) Repertoirecomposedandperformedexclusivelybyensemblestudents,incorporatingtwentiethcenturycompositiontechniques.Prerequisites:HAR390Corconcurrentenrollment. Instr.JasonLevis TuTh11am-12:15pmpm;sectionalTBA
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MUS200AEarTraining&Sight-Singing (3credits,3hourslecture/lab) A coursedesigned to develop aural and visual perceptionof rhythmic,melodic andharmoniccomponentsofmusic.Coursematerialisjazz-based. Instr.JohnGove TuTh11am-12:30pm HIS387ProtestSongs—FromtheAfricanAmericanWorkSongtoWomen’sRights (3credits,3hourslecture) Ahistoricaloverviewofprotest songs, fromtheAfricanAmerican roots tradition (worksongs,spirituals,fieldhollers,moans,ringshoutsandplantationdances)throughtheCivilRights,Anti-War, Free Speech and Women’s Rights movements –– sacred and secular oral traditionsmanifestingculturalresistanceandacridecœurforfreedomandequality. Instr.LindaTillery Tu1-4pm HIS100AJazzHistory—TheRootsofJazzandEarlyJazz,Pre-1900–1919 (3credits,3hourslecture) This course examines the influences of West African, Caribbean, South American, Asian andEuropeanmusic and culture on the development of jazz pre-1900, and on the earlymusic ofNewOrleansthatbecameknowntotheworldasjazzby1917.ThecoursefocusesontheWestAfricanconceptualapproaches,practices,andculturalconventionsthatformthefoundationofjazz,and itsorigins inspirituals,blues, ragtimeandotherAfricanAmericansacredandsecularmusic.ThedevelopmentofjazzisstudiedwithinthehistoricalcontextofAmericansocialforcesincluding post-bellum segregation, the industrial boom and the Great BlackMigration,WorldWarI,andtheinventionoftheradioandsoundrecordings. Instr.AnthonyBrown Tu1-4pmHIS200AJazzHistory—StyleandCultureinAmericafrom1940-1959 (3credits,3hourslecture) Thiscourseexploresjazzasanartform,withafocusonthemusicalinnovationsofmodernjazzthroughthebeginningsoffreejazz.Stylesincludingbebop,hardbop,funk,Latinjazz,cooljazz,and other styles created by Dizzy Gillespie, Thelonious Monk, Miles Davis, Max Roach, theModern JazzQuartet,ArtBlakey’s andHorace Silver’s JazzMessengers,OrnetteColemanandmany of their collaborators are examined, focusing on instrumental grouping, structural,harmonicandrhythmiccreativity,andfolkinfluences.Studentsdrawconnectionsbetweenthemid-century impact of World War II, the Atomic Age and the Cold War, the hegemony oftelevision,advertising,theburgeoningCivilRightsMovementandotherhistoricalepochsupontheevolutionofjazz.Prerequisite:HIS100B. Instr.JeffDenson Tu1-4pm
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PRF240BrazilianJazzEnsemble (2credits,2hours) An ensemble focusing on the amalgam of Brazilian and American jazz styles of music andtechniques.Opentoinstrumentalistsandvocalists. Instr.MarcosSilva Tu4-6pm THE301Form&AnalysisofJazzStandards (2credits,3hourslecture) Acourseinanensembleformatfocusingonformandanalysisofjazzstandardsessentialtotheprofessionalmusician.Prerequisite:THE200Borconcurrentenrollment. Instr.GlennRichman Tu4:15-6:15pm SCI300PhysicsofSoundandMusic (3credits,3hourslecture) Anexplorationof themechanicsandperceptionofmusic— fromtheenergy thatexcites thevibratingobjectandthespacethroughwhichitswavespropagate,tothehumanearandbrainthat experience it as music and reshape it through design. Topics include: wave properties;soundproductionandtimbre;acousticsandpsycho-acoustics;pitch,tuningandtemperament;and music technology. Through an understanding of music from a scientific perspective,studentsworktowardexpandingandbuildingontheirexperienceandsensibilitiesasmusicians.While incorporating some basic mathematics, this course focuses primarily on a conceptualunderstandingofcomplexphenomena. Instr.TerryBuehler TuTh4:15-5:45pm BUS301LegalAspectsoftheMusicIndustryforJazzMusicians (1credit,1hourlecture) Anoverviewofthevariouslegal issuesinthemusic industryandthemannerinwhichthelawandtechnologyhaveshapedtheevolutionoftheindustry.Coverscurrentlegalissuesfacedbyjazzmusicians and jazz labels and thebusinesspractices that arebeingdeveloped to addressthem. Provides an understanding of the principles of contract and copyright law and coverstopics relevant to jazz musicians today, including the role of agents and managers, liveperformanceagreements,recordingcontracts,musicpublishing,produceragreements,licensingmusicformotionpictures,televisionandcommercials,under-standingroyaltystatementsandthedistributionandsaleofmusicontheinternet. Instr.ToddGascon Tu6:30–7:30pm
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PRF110A/210AVocalJazzPerformance(3credits,3hourslab–reqforvocalists)Afour-semestercoursecoveringarangeofstylesfromtheGreatAmericanSongbooktobebop,modal,world,contemporarypopular,andfreemusic.Studentscomposeoriginalmaterial,writelyrics and create their own arrangements. Accompanied by a pianist and/or rhythm section,singersfocusoninterpretation,stagepresence,improvisation,vocaltechnique,phrasingaswellascultivatingapersonalstyle.Studentsareexpectedtodeveloparepertoireof100songsoverthistwo-yearcourse.Instr.LaurieAntonioliW12-3pmPRF201Miles/WayneEnsemble(2credits,3hourslab)TherepertoireofMilesDavisandWayneShorter.Instr.MichaelZilberW12:15-2:15pmPRF230LatinJazzEnsemble(2credits,3hourslab)An ensemble based on the amalgam of styles and techniques that form and inform themultifacetedfieldofLatinjazz.Instr.JohnSantosW12:15-2:15pm;sectionalTBAHIS330LatinAmericanRootsofJazz(2credits,2hourslecture)Asurveyof theevolutionandrelevanceof theAfro-Latinorootsof jazz.Thiscourseexaminesthepan-AmericansociopoliticalcircumstancesthatbroughtAfro-Latinomusicandjazztogetherasbranchesofthesametree.Emphasisisplacedonthehistoricaldevelopmentoftheespeciallyinfluentialmusic of Cuba, New York and Puerto Rico. Students listen to rare recordings from1900tothepresent.Musicisanalyzedthroughlecture,listeninganddiscussionandbroadensanunderstandingofjazzfrombothstylisticandhistoricalperspectives.Instr.JohnSantosW2:30-4:30pmMUS209APracticalApplicationsfortheRhythmSection(2credits,2hourslecture/lab–elective)A two-semester hands-on, interactive course for pianists, guitarists, bassists and drummersfocusingonrhythmicconsiderations relevant to the rhythmsection.Coursecovers the roleofthe individual and the rhythm section as a credit as applied to jazz, Afro-Caribbean, SouthAmericanandWorldmusicstylespastandpresent.Instrs.JeffDensonandAlanHallW2:30–4:30pm
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THE201IntroductiontoJazzTranscription(1creditlecture/lab)An introductiontotechniquesfortranscribingjazzmelodies,rhythms,andchordprogressions.Transcribing assignments increase in level of difficulty throughout the semester. This courseservesasanoptionalprerequisiteforTHE200B,whichinvolvesadvancedleveltranscription.Instr.JohnGoveW3:15-4:15pmBUS400Marketing&Publicity(1credit,1hourlecture)Acoursefocusingonmarketingandpublicitypracticescriticaltothesuccessoftheprofessionalmusician.Instr.SherylLynnThomasW4:30–6pm(10weeks)MUS100AEarTraining&SightSinging (3credits,3hourslecture/lab) Instr.JayLehmann MW9–10:30amTHE21A5SingleLineSoloingforVocalistsI (3credits,3hourslecture) Instr.DannZinn MW9–10:30am MUS103IntroductoryMusicTheoryandEarTraining3credits,3hourslecture/labInstr.JayLehmannMW10:45am–12:15pm THE205ASingle-LineSoloingI (3credits,3hourslecture/lab) Instr.DannZinn MW10:45am–12:15pm HIS390AHistoryofWesternEuropeanMusicfromAntiquityto1750 (3credits,3hourslecture) Instr.JasonLevis MW10:45–12:15pm HAR390AWesternEuropeanHarmonicPracticefrom1600to1820 (3credits,3hourslecture) Instr.JasonLevis MW12:30–2pm
PRF111AVocalJazzEnsemble (2credits,2hourslab) RepertoireincludeshistoricarrangementsfromgroupsincludingLambert,Hendricks&Rossandthe Singers Unlimited aswell as original charts and arrangements. Emphasis on singing closeharmonyparts,sightreading,intonationandcreatingastylisticallyrelevantensemblesound. Prerequisites:PRF110B. Instr.BenFlint Th9:30-11:30am PRF110A/210AVocalJazzPerformance (3credits,3hourslab) Afour-semestercoursecoveringarangeofstylesfromtheGreatAmericanSongbooktobebop,modal,world,contemporarypopular,andfreemusic.Studentscomposeoriginalmaterial,writelyrics and create their own arrangements. Accompanied by a pianist and/or rhythm section,singersfocusoninterpretation,stagepresence,improvisation,vocaltechnique,phrasingaswellascultivatingapersonalstyle.Studentsareexpectedtodeveloparepertoireof100songsoverthistwo-yearcourse. Instr.LaurieAntonioli Th12-3pm PRF300JazzRepertoireEnsemble 2credits,3hourslab Instr.FrankMartin Th1-3pm:sectionalTBA MUS207DoubleBassEnsembleWorkshop(2credits,2hourslecture/lab–elective)A course designed to develop technical facility through select repertoire for double bassensemble.Instr.JeffDensonTh1–3pmHIS340BrazilianRootsofJazz(2credits,2hourslecture)AsurveycoursetracingtheBrazilianrootsofjazzfromtheirmidnineteenthcenturyAfricanandEuropean-influencedfolkloricoriginstothemidtwentiethcenturyemergenceofthesamba-derivedbossanovaandbeyond.Instr.SherryKeithTh6–8pmBUS300AudioforLivePerformance&Recording (1credit,1hourlecture) An introductory overview of live performance audio systems and basic recording technologyproviding an explanation of the signal path from the source through the microphone to itseventualdestinationofliveshow,loudspeakerorrecordingmedia.Strategiesforsuccessfulliveperformanceandinteractionwithliverecordingengineersarepresented. Instr.LeeBrenkman Th6–7pm
PRF300JazzRepertoireEnsemble (2credits,3hourslab) Instr.TBD F10am-12pm;sectionalTBAPRF200JazzRepertoireEnsemble (2credits,3hourslab) Instr.SteveErquiaga F10am-12pm;sectionalTBATEC100IntroductiontoMusicTechnology (2credits,2hourslecture/lab) An introduction to software tools available for sequencing, sampling, scoring/music notation,simplerecordingandproduction.Thiscoursealsocoverssoftwareandweb-basedservicesthatassistwithdevelopingskillsinbasicmusicianship.IntroductiontoMusicTechnologyservesasaprerequisite for Basic Recording Techniques. Students must own or have access to a laptopcomputerwithSibeliussoftware(version6orhigher)installedforuseinclass. Instr.ErikJekabson F10am-12pmTHE302PolyrhythmsandOddRhythmGroupings(2credits,2hourslecture/lab)Thenatureandhistoryofpolyrhythmsandoddrhythmgroupingsandtheirapplicationtocompositionandimprovisation.Allinstrumentsandvoice.Prerequisites:Mus100AandThe100AInstr.JeffMarrsF10am-12pm MUS101PianoforNon-Pianists (1credit,1hourlab) Entry-level keyboard technique for non-pianists covering scales, reading and playing basicrepertoire.ServesastheprerequisiteforMUS201. Instr.KatherineWestine F12:15-1:15pm PRF250TraditionalNorthIndianEnsemble(2credits,3hourslab–requirement)RepertoireintheNorthIndianmusictraditionbycomposersincludingAliAkbarKhanandAlamKhanamongothers.Instr.AlamKhanF12:15-2:15pm