ADMISSIONS APPLICATION PROCEDURES

JAZZ CURRICULUM___________________________

VOCAL CONCENTRATION

This schedule represents a suggested sample curriculum. The BFA degree is granted upon completion of at least 134 credits and must include 96 credits of applied music and the Liberal Studies distribution.

Freshman Year
1 - Vocal Rhythm Section I (2 semesters)
1 - Vocal Musicianship I (1 semester)
1 - Vocal Musicianship II (1 semester)
1 - Vocal Sight-Singing I (2 semesters)
1 - Vocal Technique I (2 semesters)
2 - Private Lessons (2 semesters)
2 - Ear Training I (2 semesters)
2 - Theory I (2 semesters)
1 - Piano (2 semesters)
3 - Cultural Foundation of Western Music (2 semesters)
3 - Liberal Arts (2 semesters)
17 credits per semester
Sophomore Year
1 - Vocal Rhythm Section II (2 semesters)
1 - Vocal Improvisation I (1 semester)
1 - Vocal Improvisation II (1 semester)
1 - Vocal Sight-Singing II (2 semesters)
1 - Vocal Technique II (2 semesters)
2 - Private Lessons (2 semesters)
2 - Ear Training II (2 semesters)
2 - Theory II (2 semesters)
2 - Rhythm Analysis (2 semesters)
3 - History of Jazz (2 semesters)
3 - Liberal Arts (2 semesters)
18 credits per semester

Junior Year
1 - Vocal Rhythm Section III (2 semesters)
1 - Theory & Performance I (2 semesters)
2 - History of Vocal Styles (2 semesters)
2 - Blues (1 semester)
2 - Vocal Jazz Ensemble (1 semester)
2 - Private Lessons (2 semesters)
3 - World Music History (1 semester)
3 - 20th Century Music History (1 semester)
3 - Liberal Arts (2 semesters)
4/5 - Electives
18 credits per semester

Senior Year
2 - Improvisation Ensemble (2 semesters)
2 - History of Vocal Styles (2 semesters)
2 - Private Lessons (2 semesters)
2 - Contemporary Jazz and Its Exponents (1 semester)
10/12Ð Electives (2 semesters)
18 credits per semester

REQUIRED VOCAL CURRICULUM
Within the Jazz Performance curriculum, a student may choose to concentrate in Vocal Performance. The Vocal Performance option combines music study in areas common with instrumentalists, such as theory, ear training, piano, and history, with a curriculum focused on the specific needs and demands of singing. There are four major areas in which the vocal curriculum supports the development of the singer:
1. Jazz performance: focus is on song interpretation, stage presence and leadership, interaction, and arranging.
2. Performance history: vocalists are exposed, through both individual and collective performances, to myriad styles of contemporary music.
3. Applied theory: vocalists apply music theory directly to improvisation and sight-singing
4. Vocal technique: vocalists learn healthy methods of using and developing their innate vocal capacity through individual and group instruction.

REQUIRED CORE CURRICULUM
Jazz Theory I & II
Ear Training I & II
Rhythmic Analysis
Piano I
Private Lessons

For descriptions of these classes, see GENERAL COURSE DESCRIPTIONS

REQUIRED VOCAL CURRICULUM
The following courses are part of the required vocal proficiency curriculum per evaluation placement.

Vocal Rhythm Section I (Fundamental)
2 credits
Joan Stiles
In this class vocal students are accompanied by a rhythm section and learn how to communicate effectively with the band: explain the form and mood of the tune; count off tempos; and assign and signal solos, introductions and endings. They also gain experience in writing out clear transposed lead sheets and making basic arranging decisions. Within this framework, they develop repertoire, stage presence, Jazz rhythmic concepts, and simple improvisation.

Vocal Rhythm Section II (Intermediate)
2 credits
Amy London
This is a repertoire-building class with emphasis on preparing the student to pass Jazz performance proficiency (at a minimum) and the sophomore jury. Students are expected to utilize standard song literature and to research composers. Good storytelling through singing is emphasized. Interpretation of lyrics and creating lyrics based on the story are stressed. Communication with the audience and stage presence, as well as microphone and amplification techniques are covered.

Vocal Rhythm Section III (Advanced)
2 credits
Janet Lawson
Vocalists learn to listen and interact with the band as an equal partner. This involves a high degree of listening skills, as well as theoretical knowledge and a knowledge of the crafts of both the singer and instrumentalist. Emphasis in this course is on applied theory: the ability to improvise having internalized the melody, chords, and scales; and personalizing the musical interpretations through arrangements, improvisation, and improvising lyrics.

Vocal Musicianship I and II
1 credit
Oliver von Essen
For beginning and intermediate students, these courses will focus on basic skills needed for efficient sight-singing and vocal improvisation. They include singing scales, modes, chords, roots, rhythms using solfege, and Òsinging by numbers.Ó

Vocal Improvisation I and II
1 credit
Oliver von Essen
For intermediate and advanced singers. Building on musicianship skill, these classes explore the challenges of "blowing" over changes including blues, rhythm changes, and other standard forms.

Vocal Sight-Singing I
1 credit
Junko Arita
This class is designed to help students develop basic sight-singing skills using solfege and melodia, as well as original compositions and/or arrangements of existing music. The class emphasizes techniques for staying calm while maintaining the correct rhythm in realistic professional situations.

Vocal Sight-Singing II
1 credit
Junko Arita
This class, a continuation of Sight-Singing I, develops more advanced sight-singing skills in non-diatonic situations. It also applies analysis and varying approaches to music theory and sight-singing.

Vocal Techniques I and II
1 credit
Ilena Vassiltchikova
These classes explore the physical issues of vocal production. This class is essential for singers who want to develop solid technique and fluency in singing.

History of Vocal Styles
2 credits
Richard Harper
This course is a four-semester rotating sequence focusing on the African American tradition and its influence on American singing. The theory and technique of vocal music are examined through self-paced individual and group performance of various styles. Styles to be examined include work songs, hollers, spirituals, blues, rags, swing, bebop, doo wop, rhythm and blues, funk, etc., and topics such as technique, harmonizing, and improvisation. This sequence is a part of the required vocal proficiency curriculum.

Vocal Jazz Ensemble
2 credits
Amy London
Students work on a variety of vocal pieces involving sight-reading, inner-part singing, and vocal blending skills. Students will sing both a cappella and accompanied selections, including vocal improvisation. This class culminates in a concert, accompanied by a rhythm section. It is part of the required vocal proficiency curriculum; all students are welcome.

The Blues
2 credits
Junior Mance
The blues is the foundation of almost all of Jazz. This ensemble course enables students to understand the blues in its many guises, to interpret the blues with feeling, and to apply its patterns and moods to their own improvisations. Final enrollment is at the discretion of the instructor.

For additional elective courses see Performance/Studio and Theory/Composition Electives.

Ongoing Evaluation
Students are evaluated every semester based on the following criteria:

1. mid-term examinations, where applicable
2. mid-semester evaluation from all classroom faculty
3. mid-semester Improvisation ensemble listening sessions
4. final exams, performances, recordings, papers (final assignments will vary from class to class)

There will be two juries during a student's four-year course of study, as follows:

Sophomore Jury
All students are juried in the second semester of their sophomore year. Performance and vocal majors must prepare ten (10) tunes of contrasting styles. The jury committee will select three to be performed with a faculty rhythm section. The student must pass the jury in order to be allowed to proceed toward graduation.
Composition majors, please see specific requirements listed in the Composition/ Arranging section

Senior Recital
To qualify for graduation, each senior must prepare a minimum one-hour performance demonstrating an acceptable level of mastery of his/her instrument or chosen field of concentration.