SCHOOL/DEPARTMENT: MUSIC

COURSE OUTLINE: MUS 371 / 2017 Second Semester

1.0 GENERAL COURSE INFORMATION

Course Code: MUS 371

Course Title: Jazz Performance 6
Points Value: 15
Prerequisites: Mus 370
Restrictions: Jazz 301, Jazz 301A, Jazz 307, Jazz 308
Course coordinator / teaching staff: Kevin Field k.field@auckland.ac.nz Artist Teachers
and lecturers as instrument specialists.

2.0 CLASS CONTACT HOURS

2.5 hours per week. Improvisation module: Tuesdays 9.30 -11am or Thursdays 10-
11.30am. Principal instrument tuition to be arranged with individual teachers.

3.0 COURSE PRESCRIPTION

The successful jazz musician requires a high degree of instrumental proficiency to engage at a
professional level as the world of improvisational music offers a wide variety of challenging
musical situations. This musical art form requires many key performance skills, technical abilities,
improvisation capabilities and competency with repertoire and music reading. This course builds
on knowledge gained during the previous two and a half years of study with a particular
emphasis on advanced improvisational methods and professional level technical work. This
course culminates in a public graduation recital.

4.0 TEACHING AIMS

The aim of this course is to help each student master the elements of music through an in depth
study of scales, chords, technique, sound generation and relevant musical literature with the main
focus on personal instrumental abilities. A further aim is to develop fundamental knowledge in
the rhythmic and harmonic language that is integral to the discipline of Jazz improvisation.
Given the nature, stylistic diversity and musical demands, the content of the program will vary
according to the instrument of study. This course aims to integrate technical skill with musical
insight enabling strong musical control and communication in every aspect of making music.

5.0 LEARNING OUTCOMES

The objective of this course is to improve instrumental abilities through the study of
improvisation and technique. This course introduces students to the musical elements that lead
to the development of key skills in the application of rhythmic, melodic and harmonic
knowledge in music making. Given the nature, stylistic diversity and musical demands, the
content of the program will vary accordingly by instrumental major.
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At the end of this course students will be expected to:

1. Perform technically and artistically at a level consistent with instrumental syllabus for stage
three assessment.
2. Establish methods and resources that enable further enquiry into musical practice.
3. Develop stylistic awareness while developing a jazz repertoire that is committed to memory
4. Construct and perform jazz improvised solos over selected jazz tunes with appropriate
rhythmic phrasing and group interaction.
5. Demonstrate a good understanding of all aspects of jazz theory associated with the relevant
tunes.
6. Demonstrate the use of practical techniques such as the use of imposed dominants, chord
substitutions, advanced chord-scale relationships, rhythmic innovation and solo
shape/development.
7.Transcribe, perform and analyse recorded solo examples appropriate for stage three
8. Demonstrate use of techniques such as melodic and rhythmic development, motive
development, and melodic embellishment in solo construction.
9. Give a 50-60 minute public recital demonstrating skills as a well-rounded jazz performer.

6.0 COURSE STRUCTURE AND CONTENT

Improvisation Module Improvisation Principal

Assessments Instrument
Week 1 Imposing a dominant Weekly lesson
Repertoire The Oracle (Dave
Holland),

Week 2 Imposing a dominant continued The Oracle written solo Weekly lesson
due
Week 3 Using Common shapes Weekly lesson
Repertoire Falling Grace (Steve
Swallow)
Week 4 Transcription 1 (64 bars) Transcription Weekly lesson
assessment due
Week 5 Group Interaction Weekly lesson
Slash Chords
Repertoire Dienda (Kenny Kirkland)
Week 6 Rhythm Studies Dienda written solo due Weekly lesson
Study break
Week 7 Rhythm Studies continued Rhythm Studies exercise Weekly lesson
Repertoire Ana Maria (Wayne due
Shorter)
Week 8 Recital Improvisation Workshop Weekly lesson
Week 9 Solo Shape & Developing Solos Technical

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Repertoire Madame Butterfly (Kevin assessments

Field)
Week 10 Solo Shape continued Weekly Lesson
Repertoire Manhatten Beach
Week 11 Manhatten Beach Madame Butterfly Weekly lesson
written solo due
Week 12 Transcription 2 (64) bars Transcription Weekly Lesson
assessment due

7.0 LEARNING RESOURCES

7.1 Required Reading: The Jazz Theory Book by Mark Levine

7.2 Recommended or Supplementary Reading:

Jazz Improvisation (comprehensive) by Jamey Aebersold
The Encyclopedia of Jazz Theory for All Musicians by Robert Rawlins, Nor
Eddine Bahha, Barrett Tagliarino
The Jazz Piano Book by Mark Levine

7.3 Use of Canvas

8.0 INCLUSIVE LEARNING

Students are urged to discuss privately any impairment-related requirements face-to-face and/or
in written form with the course convenor/lecturer and/or tutor.

9.0 OTHER INFORMATION

This course consists of 2.5 hours of contact per week 1.5 hours of Improvisation and 1 hour
on principal instrument.

10.0 ASSESSMENT

10.1 Method of Assessment

Method of Assessment Weighting

100% Coursework:

Every item of the course work

has to be completed

Final Recital 50%

Improvisation Class 40%

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Ensemble Mark 10%

Total 100%

Component 1: Final recital 50%

The 3rd year recital consists of a 50-60 minute performance assessment.

Students at level 3 will perform a selection of repertoire that reflects the nature of study through
the jazz program and with the agreement of their principal instrument teacher. Students will be
responsible for organizing all aspects of the performance including technical requirements,
promotion and program notes. Students will submit their recital program and arrangements one
week prior to recital date. Students will be assessed in accordance with the undergraduate
performance criteria for level three. Examiners will consider the quality of the arrangements and
the level of musical proficiency during the improvisation and ensemble accompaniment if
applicable. The school of music will record all recitals and copies will be available to the students.

Check List for Performers: To be approved by the principle instrument teacher and coordinator
of the jazz program at least one week prior to assessment.
- Program notes
- Accurately notated arrangements
- Technical requests

Component 2: Improvisation Assessment 40%

In class assessment will test the following subjects:

A) Transcription assignments
There are two set transcriptions of 64 bars in length
*or in the case of a very slow tempo/ ballade, two minutes in total subject to be approval by the Lecturer

1. Transcriptions are to be performed in class with the source sound recording, to tempo. A
correct written copy with chord symbols must be presented to the class.

2. Students must also present a 5-minute analysis of their transcription to the class explaining
what they have learnt from the transcription including analysis of the harmonic, rhythmic,
stylistic and melodic devices used. They are encouraged to use handouts, or the white board to
communicate their findings. Transcriptions may be of their given instrument, or of another
instrument where the range and content is suited to their own instrument.

Transcription Assessment
Students will be graded on performance of transcription with marks awarded for accuracy,
intonation, stylistic inflection and time feel, and how close they can get to the original. They
will be also marked on the quality of the written transcription and the analysis.

B) Weekly Exercises and in Class Playing Tasks

Improvisational Technique based Exercises x 4
In Class Playing, Participation
Attendance mark

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Component 3: Ensemble Participation 10%

Students must participate in an ensemble during the semester. For most students this will be the
combo that they have played in for Mus 372.

10.2 Assessment Criteria

Detailed information on assignment format and assessment criteria are provided below. The
grading of work is based on the NICAI Grade Descriptors printed on the Faculty website:
https://cdn.auckland.ac.nz/assets/creative/for/current-students/course-planning-
enrolment/Planning-and-enrolment-assets/NICAI%20grade%20descriptors.pdf .

The final recital will use the following criteria:

A TECHNICAL ASPECTS (40%)

Fluency / Accuracy

Rhythm

Dynamics

Quality of Sound

Articulation / Pronunciation

Intonation

B MUSICIANSHIP ELEMENTS (50%)

Improvisation

Stylistic Awareness

Interaction

Ensemble skills / Balance and Blend

Ability to communicate / Musical Expression

Leadership skills

C PRESENTATION (10%)

Scores / Charts

Programme notes

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Performance etiquitte

Grades and Standards

Judgement Grade % Value
Work of high to exceptionally high musical quality showing A+ 90 100
excellent knowledge and depth of understanding of subject matter,
style and aesthetic, an appreciation of issues, a high level of A 85 89
creative ability, originality and critical thinking; excellent technical,
communication and presentation skills. A- 80 84

Work of good musical quality showing good to strong grasp of B+ 75 79

subject matter and understanding of major issues though not
necessarily of the finer points; evidence of creative ability, B 70 74
originality and critical thinking; good technical, communication
and presentation skills. B- 65 69

Work showing some evidence of musicality, a knowledge of C+ 60 64

subject matter and appreciation of main issues though possibly
with some inconsistencies, lapses and inadequacies; creative ability, C 55 59
originality and critical thinking present but limited; adequate
technical, communication and presentation skills. C- 50 54

Work lacking breadth and depth of musical quality and depth of D+ 45 49

knowledge of the subject matter. Work generally has gaps.
Frequently work of this grade shows inadequate coverage of D 40 44
material; does not attempt to interpret the material; at the lower
end, indicates a need for considerable effort to achieve
improvement; technical, communication and presentation skills
are poor.

Highly unsatisfactory. Work shows a lack of musical D- 0 39

understanding, lack of knowledge about and understanding of the
issues. Inadequate in degree of relevance, sometimes
completeness, sometimes both. Technical, communication and
presentation skills are weak.

10.3 Academic Integrity

The University of Auckland will not tolerate cheating, or assisting others to cheat, and
views cheating in coursework as a serious academic offence. The work that a student
submits for grading must be the students own work, reflecting his or her learning.
Where work from other sources is used, it must be properly acknowledged and
referenced. This requirement also applies to sources on the world-wide web. A students
assessed work may be reviewed against electronic source material using computerised
detection mechanisms. Upon reasonable request, students may be required to provide
an electronic version of their work for computerised review.

10.4 Attendance

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Attendance in class as well as engagement with course activities and readings is vital to academic
success. Owing to the nature of music teaching and learning, consistent attendance is essential at
all lectures, tutorials and studio lessons. Students must make every effort to attend class and
complete all the necessary in-class requirements. All planned absences (such as overseas
competitions, family events, masterclasses or work-related commitments) must be pre-approved
by the Head of School, Associate Professor Martin Rummel. If approval is given, all Course
Coordinators, Tutors and other teachers must be informed of your absence in advance.
Unplanned absences relating to illness, bereavement, or other emergencies can only be excused
with appropriate evidence from the University doctor, counsellor or other official source. It is
students personal responsibility to make up all work missed, as individual catch-up classes will
not be available.

11.0 STUDENT FEEDBACK

Course evaluations are used to monitor and impove the delivery and content for this
course.
Course evaluations will be carried out for this course at the end of the semester.

12.0 UNIVERSITY POLICIES AND GUIDELINES

This course is based on the university policies and guidelines. For further information, see the
University and Faculty websites. On the Faculty website, the Quick Reference Guide for New
Students provides useful information on such things as key dates, where to go for help and
advice, personal support and academic policies and procedures.

Students must note the following warning that applies to all material provided for this course.
This includes printed material and electronic material, and material posted on CECIL. If you are
not sure about the requirements, ask for clarification from the course coordinator.

School of Music Media policy

The unauthorised recording by any form of digital, analogue, video or audio recording device
(including mobile phones) by a student of another student or the lecturer within a teaching
environment is strictly prohibited. Students may be permitted to record lectures if they have
received prior permission from the lecturer concerned. If a lecture or class includes a practical
demonstration / performance by a student, a recording of that demonstration / performance
may only be made by the student concerned. Recording of public performances on University
premises is prohibited at all times, other than by staff approved by the University of Auckland.
In such cases the performers will be required to sign a recording agreement that determines the
context in which any recording may be used.

COPYRIGHT WARNING NOTICE

This material is protected by copyright and has been copied by and solely for the educational
purposes of the University under licence. You may not sell, alter or further reproduce or
distribute any part of this course pack/material to any other person. Where provided to you in
electronic format, you may only print from it for your own private study and research. Failure to
comply with the terms of this warning may expose you to legal action for copyright infringement
and/or disciplinary action by the University.

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