Division

of Contemporary Music
Jazz Studies Handbook
2018 – 2019
Contact Information

Division of Contemporary Music

The Music Complex (TMC) 118
213-740-3224
contemporary.music@usc.edu

Christopher Sampson, Vice Dean
Valerie Vanderwest, Division Manager
Alex Knoll, Sr. Production Coordinator
Martin Lopez, Audio/Visual Technician
Patrick Gilbride, Scoring and Session Coordinator
Jessica Patterson, Industry and Careers Coordinator
Armando Perez, Jr., Audio Engineer
Justin Su’esu’e, Division Assistant

Jazz Faculty

Faculty Office Email
Bob Mintzer, Program Chair TMC 128 rmintzer@usc.edu
David Arnay TMC 118 arnay@usc.edu

Peter Erskine TMC G145 perskine@usc.edu

Russell Ferrante TMC 118 rferrant@usc.edu
Sara Gazarek TMC 118 gazarek@usc.edu
Jason Goldman TMC 122 jasonmgo@usc.edu
Kathleen Grace TMC 118 schorsch@usc.org
Edwin Livingston TMC G101 euliving@usc.edu
Andy Martin TMC 118 mart758@usc.edu
Ron McCurdy TMC 104 rmccurdy@usc.edu
Vince Mendoza TMC G115 vjm@usc.edu
Darek Oleszkiewicz TMC 130 oleszkie@usc.edu
Alan Pasqua TMC 125 apasqua@usc.edu

Aaron Serfaty TMC G133 serfaty@usc.edu

Robert Sheppard TMC 118 rsheppar@usc.edu

Michael Stever TMC 118 mstever@usc.edu

John Thomas TMC 103 johnthom@usc.edu




Fall 2018 Jazz Calendar

Date Time Event Location

September 11, 2018 8:00 PM Jazz Forum G128
September 24, 2018 7:00 PM Jazz Night #1: Featuring Honors Combo, Livingston 1 & 2 CTV
September 25, 2018 8:00 PM Jazz Forum G128
October 1, 2018 7:00 PM Jazz Night #2: Featuring TJO, Ferrante 1 & 2 CTV
October 2, 2018 8:00 PM Jazz Forum G128
October 6, 2018 All Day Jazz Recitals CTV & SWT
October 8, 2018 7:00 PM Jazz Night #3: Featuring CJO, Oles, Stever combos CTV
October 15, 2018 7:00 PM Jazz Night #4: Featuring ALAJE, Serfaty 1 & 2 CTV
October 18, 2018 8:00 PM Vocal Jazz & Studio Guitar Duos CTV
October 22, 2018 7:00 PM Jazz Night #5: Featuring Honors Combo, Mendoza 1 & 2 CTV
October 23, 2018 8:00 PM Jazz Forum G128
October 29, 2018 7:00 PM Jazz Night #6: Featuring TJO, Grace 1 & 2 CTV
November 5, 2018 7:00 PM Jazz Night #7: Featuring CJO, Arnay 1 & 2 CTV
November 6, 2018 8:00 PM Jazz Forum G128
November 12, 2018 7:00 PM Jazz Night #8: Featuring CreSCendo & ALAJE, Thomas CTV
November 13, 2018 8:00 PM Jazz Forum G128
December 3 - 4, 2018 TBA Juries TBA




Instrumental Tune List

* Note: drum set students should be able to sing the melody and know the form

Freshman Semester 1 Freshman Semester 2
Autumn Leaves Straight No Chaser
Takin’ the Coltrane Footprints
Blue Monk I Love You
Beautiful Love My Foolish Heart
Four Recordame (with intro)
There is No Greater Love Softly as in a Morning Sunrise
Yesterdays What is this Thing Called Love
Take the ‘A’ Train (with intro) Donna Lee

Sophomore Semester 1 Sophomore Semester 2
Blue in Green Alone Together
Ceora Birdlike
All the Things You Are (w/ intro) Bop-Be
Maiden Voyage Round Midnight
Stella by Starlight Oleo/The Eternal Triangle
I Hear A Rhapsody On Green Dolphin Street
Along Came Betty Evidence
Airegin (with intro) Passion Dance

Junior Semester 1 Junior Semester 2
Dolphin Dance Pinocchio
Invitation Impressions
Bolivia Waltz For Debbie
Body and Soul Isfahan
Iris Giant Steps
Bye-Ya Tones For Joan’s Bones
You Must Believe In Spring Very Early
In A Sentimental Mood Voyage

Senior Semester 1
One Finger Snap
Sorcerer
Falling Grace
Nefertiti
Questar
Prelude to a Kiss
Inner Urge
ESP

Jazz Minor Audition Information

Applicants to the Jazz Minor are required to play all the major scales (on a fixed pitch instrument) from the root to
the ninth and back down in eighth notes at a tempo of 120mm=quarter note. They must also read music and be
able to transcribe simple solos, like Miles' solo on “So What.”
Juries

All Jazz majors & minors, regardless of degree level, are expected to perform a jury in all semesters in which they
take private lessons. Performance of a recital in a given semester DOES NOT exempt a student from the Jury. The
jury dates and schedule will be determined by the Division of Contemporary Music. Students will be informed via
email of the jury schedule for each term.

Instructors will evaluate students and instruct students based on their evaluation and needs. Instructors may use
the songs from the tune list to assist in the learning of specific concepts. Ultimately, it is the student’s
responsibility to be prepared for their jury. Instructors will address issues regarding juries upon the student’s
request

Major Jury Requirements
1. The Jazz Jury will consist of performance from one or more selections from the appropriate level and
semester on the Tune List. Undergraduate students are required to know ALL tunes of the semester/year. MM
& DMA candidates are expected to know most, if not all, tunes on the tune list.
2. The student will perform a transcription with the recording. Please provide five (5) copies of the transcription for
the faculty panel. Transcriptions must be copied (include chord symbols) using a notation software program (i.e.
Finale). Evaluation forms for the faculty to provide critiques to students will be available outside of the Jury
room. Students should fill out the top portion of evaluation forms prior to entering the Jury room.
3. Lesson Progress Report

Undergraduate Jazz Minor Jury Requirements
1. Four tunes of your choice from the Freshman and Sophomore tune list, depending on the student’s year of
study.
Be able to play the melody and improvise from memory.
(Indicate the four tunes on the Jury Evaluation form for the jury to choose one)
2. Transcription
a. Written out using music software (Finale or Sibelius); Prepare six copies for the jurors
b. One chorus if 32 song, two choruses if blues
c. Provide the original recording to play along with; Transcription must be memorized
3. Lesson Progress Report

DMA Minor in Jazz Jury Requirements
1. Four tunes from the Undergraduate Instrumental Tune List (see page 4). These tunes should be selected by
the student and private instructor. Make sure there are Aebersold Play-Along tracks available for the tunes
selected and be certain to bring a thumb drive, iPod or CD with the accompaniment to the jury. At the jury,
student will be asked to perform on two of the prepared tunes. Be able to play the melody and improvise at
least two or three choruses from memory.
2. Transcription. Transcribe one chorus of a jazz solo played on a 32 bar song or three choruses of a blues solo (36
measures) using music software such as Finale or Sibelius. Bring the original recording to the performance jury
and be able to play the solo transcription, from memory, along with the recording.
3. Lesson Progress Report

Non-Major Jury Requirements
Determined by individual instructor on a case-by-case basis

Masters Exit Exams (MEEs)

All graduating Masters Candidates are required to take Graduate Exit Exams prior to graduation during the
Candidate’s final semester. Exit Exams will be administered twice each school year, in December (as necessary) &
May. The written portion of the MEE will cover questions in advanced jazz improvisation, jazz composition or
arranging, jazz history and jazz pedagogy, and will last no more than two hours. Students will select and write on
approximately four questions drawn from a pool of questions submitted by Jazz faculty. At the discretion of the
faculty, an oral exam may be required in addition to the written exam.

Recitals

Degree level requirements:
• BA: None
• BM: Senior recital
• MM: Two graduate recitals, one of which can be a studio recorded project (needs Chair approval)
• DMA: Two recitals of original compositions and arrangements written while in the DMA program. One
lecture-recital in conjunction with an appropriate research project.
• GC: To be determined by the student and Chair as part of the 4 units of study.

Instructors will help students to prepare for their recitals. This may include tune selection, personnel,
arrangement, conceptual, theme of the recital and length of program. The instructor MUST be present at the
student’s recital. If there is an unavoidable situation that prevents the instructor from attending, instructor MUST
procure a substitute instructor to be present at the recital. This substitute should preferably be of the same
instrument.

Recital repertoire shall be at least two-thirds music from the jazz genre which will consist of jazz standards, Great
American Songbook standards and original compositions. The remaining one-third can be music chosen at the
discretion of the performer. It is the responsibility of the advising instructor to oversee these requirements. Any
exceptions or deviations from repertoire requirements are subject to approval by the Program Chair.

Recitals should be 60 – 75 minutes in length.

Printed Programs

The recital program is a description and/or brief analysis of the individual recital selections. Each student is
expected to prepare printed programs for their recital. Submit your program to your instructor at least one week
prior to your recital. The program should include the following:
• Date and location of recital
• Composition titles
• Composer and arranger of all performed compositions
• Personnel participating on the program
• Degree pursued
• Name of your applied instructor
• Student artist bio

A Thornton-branded program template available online for your use:
http://music.usc.edu/students/student-recital-program-templates-and-guidelines/.

Guidelines:
• Recitals may only be presented on scheduled recital days in the venues offered.
• The Program Chair and The Division of Contemporary Music reserve the right to adjust the recital
schedule or day/time offerings.
• Consult the Contemporary Music Production Coordinator prior to making any schedule changes.
• Music must be timed and not exceed the allotted time for the individual recital level. Keep in mind, you
must also adhere to the load-in/out time in your venue.
• Current guidelines will be provided to you by the Production Coordinator when your recital date, time and
venue are confirmed.

Process Checklist:
ü Submit a recital application the semester prior to your recital. Be checking your email for the application
process and deadline.
ü Submit your program notes to your instructor at least one week prior to your recital.
ü Prior to your recital, pick up the Recital Report Card from Thornton Student Affairs in TMC 200.
ü Perform recital
ü Submit signed Recital Report Card and two copies of your recital program to Thornton Student Affairs in
TMC 200.


Requirements for the Jazz DMA Lecture-Recital

There are three recitals required of DMA candidates in Jazz at USC. The first two are similar to those found in other
DMA programs; the third is somewhat unique to Jazz because it is a lecture-recital that represents the distillation of
concepts and ideas growing out of scholarly research, in the form of a final paper, done by the candidate following
the completion of the candidate's oral examinations. It is the goal of the faculty that, by demanding a high level of
scholarship in this area, graduates of USC's DMA program in Jazz will find themselves at a distinct advantage over
their competition in an exceedingly difficult job market. To help its graduates meet this goal, the Jazz Program has
created a DMA Guidance Committee to oversee the candidate's academic work while in residence.

The Jazz DMA Guidance Committee
The Jazz DMA Guidance Committee 1) will review and approve all candidates for admission to the DMA program,
2) will meet with candidates' at least once every two semesters while they are in residence to review their
progress; 3) will serve as an advocacy forum for any and all matters pertaining to the candidate residency while at
USC, and 4) will oversee and supervise the final research project, the paper resulting from that project and the final
lecture-recital. The committee is comprised of a minimum of three tenure-track faculty members. Administrative
responsibilities for the candidates, while in residency, are to be handled by the committee chair. All other matters,
including financial aid and the assignment of teaching assistantships will be the responsibility of the Jazz Studies
program chair.

Procedures for Writing the Final Paper in Jazz
Following the completion of the DMA written and oral exams, the candidate should identify a research project that
will contribute to the expanding body of knowledge about one of the following fields, jazz theory/analysis, jazz
history, jazz performance or jazz pedagogy. and then search through Dissertation Abstracts Online to make sure the
project or a similar project, has not been done by someone else. The candidate will then submit a proposal in
abstract form (maximum 500 words) of the intended research project to the guidance committee chair for review
and approval. Once approved, the committee chair will sign and date a single copy of the abstract to be placed in
the candidate's academic file.

Following approval, the committee chair will meet with the candidate to supervise the writing of the research paper,
which should be from 40 to 60 pages in length excluding bibliography. The chair will, from time to time, consult with
other committee members regarding details and/or recommendations concerning the candidate's scholarship while
the paper is in progress. In addition, committee members may elect to meet with the candidate at their own
discretion to point out where and how the paper might be improved prior to submission of the final draft.

When completed, a final draft of the paper will be circulated to all committee members and, following approval, a
copy of the paper, in a form consistent with music library policies, will be placed in the music holdings of Doheny
Library for reference. The candidate will then, in consultation with the committee chair, reserve a date for the final
lecture-recital presentation. Note: All committee members must agree to be present before a date can be reserved.

The Lecture-Recital Format Requirement

The DMA lecture-recital should be from 60 to 90 minutes in length, depending on whether an intermission is needed,
and represent a distillation of materials from the candidate's final research paper. While the format and content of
the lecture-recital are largely left to the candidate, the use of multi-media such as PowerPoint, handouts and live
demonstrations is required.

No less than one week prior to the date of the lecture-recital, the candidate will present a pre-recital run-through of
the materials for the committee chair and any other committee members wishing to attend. The committee chairs'
approval is mandatory before the final presentation can be given. Failure to provide a pre-recital run-through is
grounds to have the Lecture-Recital cancelled.

At the conclusion of the lecture-recital, and following majority approval by the committee members present, the
candidate will be considered to have completed all academic requirements for the DMA in Jazz Studies.